Chinese online video websites used to operate as supplementary broadcast platforms for TV stations. But now original programs independently produced by some major video sites have achieved unparalleled success.
Domestic superhero parody film Jian Bing Man (《煎餅俠》) has just become the sixth Chinese film in history to net more than 1 billion yuan at the box office. This is largely due to the success of online mini-series Diors Man (《屌絲男士》), which airs on Sohu and was created by Dong Chengpeng, who directs and is the leading actor in both the series and film. Since the show went online in 2012, Dong’s funny satirical style has quickly garnered the show a large group of followers. The film gives diehard fans a chance to show their support for Dong. As an Internet catchphrase goes, “We owe Dong a film ticket.”
Many other Internet-based shows also cater to the tastes of young audiences. Look at action and adventure drama The Lost Tomb ( 《盜墓條記》) and time travel series The Emperor Through to the Modern (《拐個天子回當代》).
Besides taste-tailored storytelling, online platforms have another appeal: They’re inclusive. Talk shows, debate programs, reality TV – any format that sells can be put online.
“The Internet is a more open platform. It doesn’t draw conclusions, nor does it try to educate. It tolerates different voices,” Jiang Bin, general manager of iQiyi’s program development center, told China Daily about the popularity of self-made programs such as the website’s talk show Morning Call (《曉說》).
Online programs also enable interaction between viewers through a system called danmu or danmaku in Japanese.
Danmaku invites viewers to type in their thoughts while watching a show and simultaneously displays the comments on everyone’s video screen. For example: “Cautious! Exciting scenes are coming soon!” “He has undertaken all the CPs (couplings) in the show!”
Danmaku and other interactive functions “direct” video websites to adjust their programs. In 2014 Tencent’s original music show The Hit of China (《Hi歌》), the number of virtual flowers given to contestants by users determined whether they’d go or stay.
The year 2014 was called “the first year of the era of online shows”. But back then many assumed online shows only starred new faces and looked about as cheap as their budgets. But now all these preconceptions are being shattered. 2015 is truly giving Web series a shiny new coat of paint.
曾，中國的在線視頻網站一向充任著電視台的從屬播放平台。然則如今，很多視頻網站自力制造的原創節目獲得了無與倫比的勝利。
國產超等豪傑笑劇片子《煎餅俠》票房成就已跨越10億元，名列華語片子史的第六名。這很大水平上要歸功於收集迷你劇《屌絲男士》的勝利。搜狐視頻推出的《屌絲男士》由董成鵬制造，同時他也是該劇集和《煎餅俠》的導演兼主演。自從2012年《屌絲男士》開播，董成鵬搞笑的譏諷演出作風，敏捷吸引了一大量跟隨者。片子的上映也給了鐵桿粉絲們一次機遇去支撐董成鵬。如統一句收集標語所表達的那樣：“咱們欠董成鵬一張片子票”。
許多其他以收集為基本的劇集，也在貼合年青觀眾的胃口，好比行動探險劇《盜墓條記》和穿越劇《拐個天子回當代》等。
除敘事方面很對口胃，在線平台另外一個極具吸引力的特色是應有盡有。脫口秀、爭辯節目、真人秀——任何賣座的情勢均可以放到網上。
“互聯網是一個更開放的平台。互聯網既不做結論，也不去教導人，而且可以容忍分歧的聲音，”愛奇藝節目開辟中間總司理姜濱在接收《中國日報》采訪時，談到了克己節目(好比收集脫口秀《曉說》)大受迎接的緣故原由。
在線節目標觀眾還可以經由過程彈幕體系舉行互動。
經由過程發送彈幕觀眾可以在旁觀節目標同時揭櫫本身的意見，這些批評都邑及時出如今其他觀眾的屏幕上。好比：“火線高能預警!”“劇裏全部的CP都被他承包了!”
彈幕和其他互動功效還可以引誘視頻網站對節目舉行調劑。2014年，騰訊的原創音樂節目《HI歌》中，觀眾經由過程“獻花”數目的若幹可以決議選手的去留。
2014年被稱為“收集劇時期元年”。其時，許多人都認定，收集克己劇裏只有新人，程度就像制造本錢那樣低。然則如今，這些成見正在被沖破。2015年，收集劇換上了閃亮的新衣。
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