1. Introduction

This article provides a systematic analysis of the development process, core characteristics, and global dissemination of Chinese online literature. Online literature originated from the traditional literary soil and rapidly expanded under the promotion of digital platforms and streaming media. It relies on fixed typification patterns, wide accessibility, and strong interactivity, gradually forming a unique style, with entertainment value becoming a prominent feature. The work is deeply rooted in the Chinese cultural background, reflecting the reading interests and leisure methods of modern readers. With the continuous deepening of marketization, online literature has gradually evolved into an industrial system covering paid content, film and television adaptations, and peripheral products, exhibiting highly commercialized characteristics. This evolution not only reflects changes in cultural consumption, but also reveals the reproduction of literary forms driven by technology and capital.

2. Analysis of Chinese online literature

Upon closer observation, it can be observed that such works rely on narrative routines to create a sense of satisfaction, gradually forming a certain addiction mechanism. Common forms include advanced systems, "golden finger" style extraordinary abilities, and camouflage techniques such as "pretending to be a pig and eating a tiger". Satisfaction is divided into several types: possession, pleasure, superiority, and achievement, which are used to attract readers' sustained engagement. The market-oriented satisfaction strategy combined with standardized templates makes the creative drive more inclined towards economic survival. The results often limit thematic innovation and weaken literary value. This situation presents the contradiction of online literature under the pressure of industrialization, on the one hand relying on reader stickiness, and on the other hand weakening the depth of thought and artistic pursuit.

2.1. Development and characteristics

Originating from the traditional literature foundation, Chinese online literature has grown rapidly under the impetus of the Internet and streaming media. It relies on specialized literary websites and social platforms to spread in a serialized form, presenting characteristics of popularization, typification, strong interactivity, and outstanding entertainment. The work is rooted in the context of Chinese culture, reflecting the reading preferences and leisure methods of modern society. Online literature has gradually evolved into a vast and highly commercialized and industrialized market, covering paid content, animation adaptations, and derivative products, demonstrating a continuous expansion trend. This phenomenon reveals the transformation of literary production methods and also reflects the reshaping of literary ecology driven by cultural consumption and capital operation. To study the rise of Chinese online literature, we should pay more attention to its internal motivations and consider its path and direction in overseas dissemination [1].

The primary characteristics of Chinese online literature are popularization and accessibility, which is most intuitively reflected in the high diversity of themes. From tomb raiding and time travel, to martial arts and cultivation, from youthful love to supernatural stories, there are a wide variety of genres that can meet the reading interests of different groups. The core readership is mostly from lower socioeconomic levels, and compared to the financial elites in Lujiazui, Shanghai, they are more likely to leave an impression on delivery riders in fourth tier cities. The low entry threshold has driven the spread of word of mouth. Chapters are usually kept at around four thousand words, reducing reading pressure and allowing them to be embedded in fragmented time such as commuting, bedtime, and meals, becoming a part of daily leisure. The creative end remains open, and anyone with input devices and a desire to express themselves can publish stories to readers. The large number of texts increases the probability of producing high-quality works, while forming a unique "large-scale screening" mechanism that can meet diverse entertainment needs and occasionally nurture works with literary value.

Another notable feature of Chinese online literature is its high level of interactivity, which contrasts sharply with traditional literature. Traditional works are often independently completed by the author before publication, and readers do not have the opportunity to participate in the creation. Online literature operates through real-time feedback mechanisms, where authors receive feedback from readers immediately after updating chapters and are often forced to adjust plot responses to expectations. The reader's sense of participation is thus strengthened, and the behavior of following updates is continuously stimulated. The changes in popular trends reflect social and cultural connections. Before the epidemic, typical cultivation novels such as "Covering the Sky" and "The Legend of Immortal Cultivation" were widely popular. The protagonists relied on opportunities, cultivation, and resource accumulation to grow from humble identities to strong ones, which was highly consistent with people's recognition of hard work and economic growth opportunities at that time. After the epidemic, with the economic downturn and intensified social pressure, the theme of villainous protagonists or invincible characters gradually became popular, reflecting readers' psychological projection of real difficulties. The author's adaptive response makes the subject direction close to the social mentality. This mechanism is like an "invisible hand", regulating the market invisibly, and also endowing Chinese online literature with lasting vitality.

To comprehend the widespread appeal of online literature among socioeconomically disadvantaged groups requires a more granular analysis. In my view, a significant factor lies in its capacity to deliver visceral catharsis and wish fulfillment. Narratives featuring the underdog's triumph or reincarnation in an alternate world consistently leverage this core element of gratification.

The production of pleasure in online novels primarily revolves around four sensations: a sense of possession, unbridled exhilaration, perceived superiority, and hard-won accomplishment. To engineer these gratifying effects, authors employ unique techniques drawn from diverse sources—studying traditional narratives, engaging in self-directed learning, or exchanging insights with peers. Among these distinctive narrative strategies, key tropes include progression systems ("leveling up"), "cheat abilities" (golden fingers), and "playing weak to dominate" (bàn zhū chī hǔ). While a detailed dissection of these techniques is not the objective here, it is crucial to highlight that the evolution of online literature is intrinsically centered on refining this element of gratification. These very features constitute its primary points of divergence from traditional literature and are fundamental to its pervasive dissemination.

2.2. Overseas dissemination and audience

Following an analysis of the addictive mechanisms inherent in online literature, we now shift our focus to its overseas market. Undoubtedly, the overwhelming majority of content within this market originates from translated Chinese novels.Wuxiaworld, established as the largest overseas platform for translating Chinese online literature, serves as a prime case study [2]. Since its founding on December 22, 2014, Wuxiaworld has evolved into a major global website, consistently ranking within the top 1500 on Alexa. Conservative estimates place its daily visitor count at over 300,000. Its readership spans more than one hundred countries and territories, with the top five user bases located in the United States, the Philippines, Canada, Indonesia, and the United Kingdom. North American readers alone constitute approximately one-third of its total audience [3]. Given its dominant share of the overseas online literature readership, data derived from Wuxiaworld possesses significant representativeness.

Analysis of this data reveals a pronounced male predominance among overseas readers of Chinese online literature. According to Alexa demographics, the proportion of male readers on both Wuxiaworld and Novel Updates significantly exceeds the average for general internet users. This skew is particularly pronounced on Webnovel (Qidian International), where male readers form an overwhelming majority. Even on platforms like Volarenovels, which feature a slightly higher proportion of female-targeted content, male readers still constitute the majority. Further corroborating this trend, a July 2017 sampling survey by iResearch Consulting Group found that among 541 respondents, male readers accounted for 92.4%. While the sample distribution may not be perfectly uniform, this strongly suggests that male readers currently comprise roughly 90% or more of the overseas audience for Chinese online literature [3].

In stark contrast to the domestic Chinese market, however, the overseas audience exhibits a significantly higher proportion of individuals with tertiary education. This discrepancy may stem from distinct cultural differences or access patterns. The earliest adopters of Chinese online novels in the United States were primarily comprised of two distinct demographics: enthusiasts of wuxia novels and traditional Chinese culture, and readers already familiar with Japanese light novels [3].Overseas readers cite their primary motivations for reading as follows (multiple responses permitted):

Simple enjoyment of Chinese online novels:The most cited reason (91.3%).

Pastime during leisure:The second most common reason (47.8%).

Stress relief:The third most common reason (45.3%).

This suggests that overseas readers place greater emphasis on the literary qualities of the works, valuing them beyond mere gratification-focused narratives. This preference is reflected in their choice of titles [4]. The novel widely credited with igniting the popularity of Chinese online fiction in the English-speaking world was Coiling Dragon (Panlong) on Wuxiaworld [5].Following its success, other highly popular titles on the platform include Er Gen's cultivation novel I Shall Seal the Heavens (Wo Yu Feng Tian) and Tales of Demons and Gods (Yao Shen Ji). Notably, Tales of Demons and Gods achieved one of the highest readership figures for a Chinese online novel overseas, attracting approximately 200,000 readers at its peak for serial updates. While these works retain the recognizable framework of online literature, they are generally acknowledged to possess discernible thematic substance and narrative depth.

2.3. Challenges and prospects

Authors of online literature have limited autonomy in choosing themes, and the difficulty of innovation is higher than that of traditional literature. Detective novels, experimental texts, and other genres are almost impossible to survive in the existing ecosystem, rooted in the highly typified nature of online literature. The current creative process is gradually solidifying into standardized templates, with the core driving force of most authors being economic survival and maximizing profits. The creative process relies more on interpreting market trends, breaking down best-selling works, and studying readers' psychology, rather than investing in textual refinement. The saying 'when one person achieves enlightenment, chickens and dogs ascend to heaven' precisely illustrates this point. The emergence of a popular movie often triggers a collective trend of similar works and fan creations. The convergence effect continuously weakens the literary value, causing works to degrade into mere entertainment consumption. The goal of generating works is more to cater to readers' preferences or to ensure the platform's minimum revenue. The future direction is still unclear, and the rise of AI generated content and the dominant position of short video platforms are intensifying pressure, posing a risk of further marginalization for online literature.

3. Conclusion

Contemporary Chinese online literature finds itself in a phase of asymmetrical development. On one hand, early classic IPs adapted into animations and television series garner widespread acclaim and popularity. On the other hand, the very source of IP creation—the original web novel ecosystem—faces significant constraints, struggling to produce new, widely resonant blockbusters. For Chinese online literature to genuinely integrate into the global cultural mainstream, the fundamental imperative lies in fostering its own healthy and sustainable evolution. This necessitates vigorously promoting innovation in thematic exploration and narrative structure, fully leveraging its inherent media advantages to ensure the robust and enduring development of the online literary form.