In November, the cold winds were blowing across the country, and the fruit finally began to kill the comics!
In recent days, “Red fruit free comics” APP, developed by Hainan Access Technology Ltd., which currently supports only downloads of the Android system, has a very simple overall interface, with content blocks divided mainly into comics and short operas, which cover all types of hot operas, both male and female. The total number of downloads from the APP is currently over 1.13 million and the interest of users is high.
The fact that the red fruit has been set up alone as a comic opera app sends a signal to the industry that it is about to begin its main campaign against the comic book market, which will have a certain impact on the current pay opera market and may lead to a transition from a pay-for-free to a free comic. And as the next “short play” on the wind, with a similar path to short play, comics have emerged from pay-to-play men to short dramas. So will comics move towards free women-to-short dramas as they are?
Is the opera going to go from paying to free?
In 2025, it was considered by many to be “the year of the comics”. Not only did this year ‘ s comics break the technological bottlenecks, they also peaked in commercialization. Throughout the first half of the year, the size of the minibus market has increased 12 times, with market sizes projected to exceed 20 billion orders of magnitude, and the number of related enterprises is expected to expand exponentially and to exceed hundreds of thousands.
Moreover, there has been a dramatic increase in the content of comics, not only from simple, low-cost sand-sculpting comics to well-drawn, high-cost dynamic comics, but also an iterative upgrading of the subject matter, from traditional censorship in July this year, the dilation of August to the genre of September, and the growing emphasis on anti-traditional, anti-modernism and anti-modernism in dynamic content, with innovations of diversity.
The cartoons are currently mainly based on pay-pointing and play-blocking, which is the same as the early short play, using the pay-+-flow model to attract user-charges, and when the heat period of the series is over, they are opened free of charge to users and are realized through information-flow advertising. And comics can develop an IP-derived tide, with a variety of ways of making it.
At present, the business performance of the head comic is excellent, with the cumulative proceeds of single works at a maximum of nearly $8 million and originals at over $5 million. This proves that the users of the comics are sufficiently willing to pay and that the market is expected to expand further.
The Comic Market is a blue-sea market of great imagination compared to the short play market. As a result, a full-scale comic strip is the best option for major plants to compete for incremental space in the content area. At present, platforms such as tremors, fast hands, station B, 100 degrees, little red books, red fruit, readings, and seven cats are in the air.
The entry of the red fruit, on the other hand, has broken the pace of the development of the cartoon market, which was originally fee-based.
In the past, the red fruit platform had not developed a free opera APP on its own, which was only a small channel on the red fruit platform, and the women users of the red fruit platform were more likely to go to reality shorts. As a result, the number of hits of free comics on the red fruit platform is low and the number of high-play comics reaches millions. This compares well with 50 million short human dramas on a red fruit platform and the breaking of billion, which is quite cold and does not add much to the red fruit.
Having watched its competitors in the pay-off short play market, the red fruit can no longer sit, and it has chosen its usual course to attack the opera market, which is to beat the pay-off with free pay.
And the red fruit free comics, the APP, continues the red fruit short play style, with three main columns on the “Recommended” “Theo” “New Playlist.” In the hot list, the second season of the worst eunuch party, the popular transition: I! the natural disaster of the dead, the King of Windwater, is the top three, each with a heat of over 40 million. In the case of red fruit, the content of the free comics is still a bit behind that of the pay opera, which is now dominated by the ancient wind, the sculptor, the urban brain hole, and the pay-off drama has evolved to the phantom, the cyanide, the weird.
Position data indicate that “Red fruit free comics” are now being mounted on channels such as millet, vivo and oppo. Currently, the total number of downloads exceeds 1.13 million. Of these, over 270,000 downloads were made at millet app stores, over 470,000 downloads were made at vivo app stores and over 370,000 downloads were made at oppo app stores.
At present, the red fruit free comics are at an embryonic stage, but they are very strong. In relative terms, the fruit would have a more commercial advantage than other early entry platforms. On the one hand, because the red fruit has matured free-of-charge business practices, the short play model is perfectly usable for comics; on the other hand, the red fruit has a user base and more than 200 million monthly live users can be directed to comic platforms; and, on the third, the red fruit has the synergetic advantage of shivering, with both the transformation of the tremor channels and the first-ever support of the dream, as well as the size of the tomato IP copyright bank, which is highly competitive.
The pay-for-the-mart era will therefore come to an end once the red fruit comic opera app is running around, rapidly accumulating users and successfully taking over the market. But today, unlike in the past, when the red fruit drama rose, it was faced with only Internet platforms such as hippos and malts, but today it is caught up in all major Internet factories. Whether it is a quick hand, a user base, or a large number of IP readings, it is important to be modest.
It is not yet known who killed the deer.
♪ The women’s drama rise ♪
Comics and short dramas are similar products and have similar content development paths.
At first, the short play was also dominated by the male short play, the most popular of which were the god of war, son-in-law, etc. The eight days of the men’s short show ” No Two ” , which is worth billions of dollars, has become not only a legend but also a good test of the purchasing power of male users.
However, after the rise of the women ‘ s short drama, a large number of female users were attracted, while female users preferred free products. As a result, when the red fruit of the free-of-charge short play platform emerged, it competed for half of the market, reaching 70 per cent of the audience and 70 per cent of the audience was women, which led to the mainstreaming of women ‘ s short play in the market and to the gradual vulnerability of men ‘ s short play. Many well-produced men’s shorts are beginning to seek greater breakthroughs in the pay-off market, but the overall scale of investment, output and financial returns are not as high as the women’s shorts.
And the drama repeats the first half of its rise. This year’s comics market is dominated by men’s pay-for-shorts, which cover the flow of fly-route systems, strange invasions, quirks of rules, city martial arts, floods, etc. The most recent male high-explosive comics, “Hell mode, you can live to the first quarter of the few days ” , “Infinite return: I bought weird endings” in five days, and “I’m the boss in the last generation, with all S-class variants” in January, are all “end-of-day plus-male-fiction” types that can easily get out of the blast.
The women’s drama is a minority in the market, but there is recently a popular female drama, Starbeast: She’s Awakening and She’s Killed Crazy, with a total of 8,859 million hits, 18 on the list, breaking the dynamic “male frequency monopoly” and breaking the ice of the femininity.
And the women’s play, which combines a number of popular elements, such as the world of beasts, the world of power, the competition for men and the sweetness of women, tells the story of the great woman’s awakening system, which captures many beautiful men and attracts a large female audience in the image of a powerful big woman. This means that women’s short dramas can be counterproductive as long as they capture women’s core demands.
Moreover, in July and August of this year, many of the comic operas were drawn up with the explicit exception of the women ‘ s play, but in October and November, many of them began to take up the women ‘ s play, with the explicit reference to the world of beasts, phantoms, the last and the next.
There’s a number of comics.
These topics are even more surprising than the real women ‘ s short play, especially those related to the beast. Because these roles and the images of men in reality are more different and have more differential advantages, women ‘ s illusions about different images of men are also realized. These images of men are often not easily presented in reality dramas, so comics are better placed to satisfy women’s peculiar fantasy.
According to the director of one of the front platforms, female frequency is a key direction for dynamic market breakthroughs. In the next six months to one year, there will be a concentrated outbreak of women ‘ s dramas.
The fact that a small number of high-end women ‘ s dramas break the ice on the market means that women ‘ s dramas are likely to lead to dramatic growth in content and audience, and that they are likely to lead to a double-edged market trend for men and women in the next six months and a year, the rise of free-cost comics markets and even the possibility of transforming the entire cartoon market to women ‘ s.
If comics also begin to follow the old path of free and female-dominated dramas, will the entry of female-free comics replicate the path of short operas? Or will the free and paid markets coexist over time to explore different business models?
We have to wait and see what happens to the future of the comics.