本網站使用瀏覽器紀錄 (Cookies) 來提供您最好的使用體驗，我們使用的 Cookie 也包括了第三方 Cookie。相關資訊請訪問我們的隱私權與 Cookie 政策。如果您選擇繼續瀏覽或關閉這個提示，便表示您已接受我們的網站使用條款。 關閉
-Unveils the Ending Theme Song " Anata wa Kaibutsu(you are my monster)" performed by TOOBOE- TOKYO, March 22, 2025 /PRNewswire/ -- CyberAgent, Inc. today has revealed the latest information at the special stage event for the TV anime "The Summer Hikaru Died" held today at AnimeJapan 2025, including the main trailer and additional cast announcements. main key visual "The Summer Hikaru Died" is a hit horror manga series about an ordinary high school boy, Yoshiki, who experiences various mysterious incidents in his life with Hikaru, a mysterious being who imitates his best friend Hikaru Indou. The story of "whatever it is" and the boy's madness has garnered significant attention, making it a must-see anime film. Following the announcement of the anime adaptation in May 2024, there is considerable anticipation among fans in Japan and worldwide. The animation will be directed by Ryohei Takeshita known as the director of "Jellyfish Can't Swim in the Night" and CygamesPictures will be handling the animation production for the series. In addition to the previously announced cast members Chiaki Kobayashi and Shuichiro Umeda, the new cast members Yumiri Hanamori, Wakana Kowaka, and Chikahiro Kobayashi made a surprise appearance on "The Summer Hikaru Died" special stage held today at AnimeJapan 2025. Furthermore, the main trailer, featuring the ending theme song "Anata wa Kaibutsu(you are my monster)" performed by TOOBOE was unveiled for the first time. Comments from the new casts and the production staff who are responsible for the character designs have also been revealed. Official website：https://hikanatsu-anime.com/ The main trailer：https://www.youtube.com/@hikaru_anime_en The Main Promotional Video Revealed! promotional video images The main trailer for "The Summer Hikaru Died" has been released. In this video, you can enjoy a sneak peek of the ending theme song "Anata wa Kaibutsu(you are my monster)" performed by TOOBOE, which is being revealed for the first time. Please look forward to the chilling blend of slice of life and the supernatural that defines this work. New Cast Comments Arrived! new casts Yumiri Hanamori (Asako Yamagishi) I'm Yumiri Hanamori, who will be playing the role of Asako Yamagishi in "The Summer Hikaru Died". The first time I read this work, I was greatly shocked that the story begins from the point where it didn't make it in time. In a place that shouldn't have existed. What if "something" very close to what didn't make it appears in front of us? What choice would we choose? What will be awaiting them at the end of their summer? I will do my best to play the role so that you can feel the atmosphere that sticks to your skin. Thank you very much. Wakana Kowaka (Rie Kurebayashi) I'm Wakana Kowaka, who will be playing the role of Rie Kurebayashi. I'm looking forward to seeing how this work, which is filled with various emotions, how it will be visualized. And the Mie dialect! We are all working so hard to record it! I want to do my best to play Rie Kurebayashi, who is close to Yoshiki and Hikaru and has kindness in her sternness. Chikahiro Kobayashi (Tanaka) When I read the original story, my heart was firmly grasped from the beginning! The scene of "Summer" that everyone feels nostalgic for is mixed with the fear and wonder of not knowing what is happening. It's really interesting. I'm very happy to be able to mix in with the atmosphere of this work...! Let's watch it together when summer comes! Additional character information released!! characters visual Asako Yamagishi (voiced by Yumiri Hanamori) A classmate of Yoshiki. Since childhood, she has been able to "hear" things that ordinary people cannot. She is tall, lively, and intelligent. Rie Kurebayashi (voiced by Wakana Kowaka) A housewife who can "see" things that ordinary people cannot. She worries about Yoshiki, who is with a dangerous and terrifying presence, and warns him to stay away. Tanaka (voiced by Chikahiro Kobayashi) A man who seems to be investigating something for a certain company. He is always carefree and elusive. He has a hamster as his partner. The ending theme song features the currently trending artist, TOOBOE! Theme Song for the Ending "Anata wa Kaibutsu(you are my monster)" by TOOBOE Lyrics, Composition, and Arrangement by TOOBOE Release: Summer 2025 TOOBOE（ Ending theme song artist） Hello, I'm TOOBOE, and I will be in charge of the ending theme song. In creating this piece, I delved deeply into the original story, contemplating how one might savor memories and promises upon realizing that the neighbor the one believed to be true isn't actually who the one thought. The more I tried to understand Yoshiki's feelings, the more pure, sorrowful, and cruel they became. The resulting song, "Anata wa Kaibutsu(you are my monster)" became a kind of forgiveness that I extended to the characters. I hope it can add a vibrant touch to this wonderful story. Thank you for your support. TOOBOE Profile Information A solo project led by the music creator "john," TOOBOE is involved in a wide range of creative activities, including lyrics, composition, arrangement, singing, illustration, and video production. With a distinctive voice and catchy, addictive music, TOOBOE is a multi-artist who seamlessly traverses the modern music scene between the internet and J-POP. TOOBOE made a major debut with the release of the first single "SHINZOU（HEART）" in April 2022. The song "JOUZAI（TABLET）," released in November 2022, was featured as the ending theme for Episode 4 of the TV anime "Chainsaw Man." Furthermore, the music video for "ITAINO ITAINO TONDEIKE" released in June 2024, has gained momentum worldwide, surpassing 20 million views on YouTube faster than " SHINZOU（HEART）" and " JOUZAI（TABLET）," both of which had already exceeded 20 million views. Official Site: https://www.sonymusic.co.jp/artist/tooboe/ X：(TOOBOE): https://twitter.com/casablancalanca?s=20&t=AuMjmQ4Tq4j0bIfSzh5hNA (Official): https://twitter.com/tooboeofficial Instagram: https://www.instagram.com/john_tooboe/ TikTok: https://www.tiktok.com/discover/jhon-tooboe?lang=ja-JP YouTube: https://www.youtube.com/channel/UC9rPALOT-ZVc7VEXATYSNCA Additional Staff Comments Arrived! Cast Yoshiki Tsujinaka: Chiaki Kobayashi Hikaru: Shuichiro Umeda Asako Yamagishi: Yumiri Hanamori Rie Kurebayashi: Wakana Kowaka Tanaka: Chikahiro Kobayashi Staff: Original Work: Mokumokuren (Serialized in KADOKAWA's "YOUNG ACE UP") Director /Series Composition: Ryohei Takeshita Character Design & Chief Animation Director: Yuichi Takahashi DORODORO Animator: Masanobu Hiraoka Prop Design: Ryunosuke Oji Sub Character Design: Mai Watanabe, Hiroko Seigan, Shoko Nagasawa Art Setting: Shuhei Tada, Takeshi Takahashi, Yohihiro Sono Art Director: Kohei Honda Color Design: Naomi Nakano Assistant Color Design: Yuko Koshida 3D Supervisor: Yoshinori Nakano Director of Photography: Tomohiro Maeda 2D Design: Yusuke Nagara, Yuri Tsue Editing: Kashiko Kimura Sound Direction: Koji Kasamatsu Sound Production: dugout Music: Taro Umebayashi Ending Theme Song "Anata wa Kaibutsu(you are my monster)" by TOOBOE Animation Production: CygamesPictures Staff comments Yuichi Takahashi (Character Designer & Chief Animation Director) Hikaru and Yoshiki may appear simple at first glance, but the breath and body temperature emanating from inside the characters can be felt thanks to the overwhelming persuasiveness and descriptive power of the original work. The heat oozing out of the characters, and the reconstruction of the original character modeling, which seems to depict that as well, was a challenge that had never been attempted before. We hope that we were able to reproduce the body temperature of the characters that we felt from the original work. Masanobu Hiraoka (DORODORO Animator) I am always thinking about how to express the unique and unsettling atmosphere of "The Summer Hikaru Died" in terms of the artwork. In particular, the depiction of "DORODORO" with a heterogeneous presence is one of the important elements that accentuate the eeriness of this work. The viscosity and weight of the movement, as well as the unpleasantness of the spread of the "DORODORO" were carefully considered in order to leave a strong impression on the audience. We made sure that the disturbing nature of the original work and the horror that lurks within its beauty could be expressed in the images. I hope you will enjoy the "distorted beauty" that only a film can capture. Taro Umebayashi (Music) I am very honored to be involved in Mokumokuren's "The Summer Hikaru Died" which is loved by so many fans. I am working on the music for the animation directed by Ryohei Takeshita so that I can contribute to the expression of the work in any way I can. Follow "The Summer Hikaru Died" for the latest news and announcements： Official website: https://hikanatsu-anime.com/ Official X : https://x.com/hikaru_anime_en Netflix Title Page: https://www.netflix.com/title/81948057 About "The Summer Hikaru Died" "The Summer Hikaru Died" is a hit horror manga series about an ordinary high school boy, Yoshiki, who experiences various mysterious incidents in his life with Hikaru, a mysterious being who imitates his best friend Hikaru Indou. The story of "whatever it is" and the boy's madness has garnered significant attention, making it a must-see anime film. Following the announcement of the anime adaptation in May 2024, there is considerable anticipation among fans in Japan and worldwide. Introduction In a certain village Since their childhood, they have grown up together. Yoshiki and Hikaru, childhood friends. the sun shining down on them the chirping sound of a cryptotympana facialis Ice cream on the way home Laughing over trivial things One day in summer, no different from any other day ...... You're not Hikaru after all, are you? Half a year ago, Hikaru went missing in the mountains. A week later, he came back on a whim. The voice, the figure, the thing that looked like Hikaru What was stirring inside... "Hikaru is no longer with us. ...... if that's the case." Starting the days with "something" in the form of a friend, The "same as usual" everyday life. But at the same time... Strange incidents begin to plague the village. Falling into the unknown "something" The curtain rises on a coming-of-age horror story. Work Information Original story: Based on the comic "The Summer Hikaru Died" by Mokumokuren, originally serialized in the YOUNG ACE UP published by KADOKAWA Director/Series Composition : Ryohei Takeshita Character Design/Chief Animation Director ：Yuichi Takahashi DORODORO Animator : Masanobu Hiraoka Animation Production ：CygamesPictures Copyright ：©Mokumokuren/KADOKAWA/The Summer Hikaru Died Partners Copyrights must be indicated when posting or using the image materials. Original work information Title ："The Summer Hikaru Died" Author ：Mokumokuren Previously published: Volumes 1-5 (Kadokawa Comics A) Available on YenPress https://yenpress.com/series/the-summer-hikaru-died
TOKYO, March 20, 2025 /PRNewswire/ -- CyberAgent, Inc. today has unveiled a new key visual and the character visuals for the television anime of up-and-coming award winning author Mokumokuren's "The Summer Hikaru Died" (published by KADOKAWA, produced by CygamesPictures ). New Key Visual "The Summer Hikaru Died" is a hit horror manga series about an ordinary high school boy, Yoshiki, who experiences various mysterious incidents in his life with Hikaru, a mysterious being who imitates his best friend Hikaru Indou. The story of "whatever it is" and the boy's madness has garnered significant attention, making it a must-see anime film. Following the announcement of the anime adaptation in May 2024, there is considerable anticipation among fans in Japan and worldwide. The animation will be directed by Ryohei Takeshita known as the director of "Jellyfish Can't Swim in the Night" and CygamesPictures will be handling the animation production for the series. The newly revealed key visual features the main characters, Yoshiki and Hikaru standing under an exceptionally clear blue sky in the setting of their hometown "Kubitachi Village". An ominous figure known as "DORODORO" and Hikaru's face is appearing on the back of Yoshiki. Additionally, the character visuals of Yoshiki and Hikaru has each been unveiled. Starting the day after tomorrow on March 22nd, AnimeJapan 2025, one of the largest anime events in Japan, will be held at Tokyo Big Sight. "The Summer Hikaru Died" will appear at a special booth of KADOKAWA where visitors can experience the world of "The Summer Hikaru Died". "The Summer Hikaru Died" will also appear on GREEN STAGE at March 22nd, and casts from the anime, Chiaki Kobayashi (Voice of Yoshiki Tsujinaka) and Shuichiro Umeda (Voice of Hikaru) will be speaking on stage. Please check the official AnimeJapan 2025 website for more details.（https://www.anime-japan.jp/en/）More information is also announced on the anime's official X account.(https://x.com/hikaru_anime_en) The Anime "The Summer Hikaru Died" will be available on Netflix worldwide in 2025. We will continue to provide additional details. New Character Visuals New Character Visuals Revealed! Yoshiki Tsujinaka CV: Chiaki Kobayashi A high school student living in Kubitachi Village. He struggles with accepting the fact that his childhood friend, Hikaru Indou, has been replaced by something else, yet continues to go about his daily life with it. He has a fondness for animals and insects. Hikaru CV: Shuichiro Umeda "Something" that appeared in place of Hikaru Indou, who went missing half a year ago in the forbidden mountains. It looks and sounds exactly like Hikaru Indou, but isn't him. It seems innocent and full of curiosity. Follow "The Summer Hikaru Died" for the latest news and announcements： Official website: https://hikanatsu-anime.com/ Official X : https://x.com/hikaru_anime_en Netflix Title Page: https://www.netflix.com/title/81948057 Introduction In a certain village Since their childhood, they have grown up together. Yoshiki and Hikaru, childhood friends. the sun shining down on them the chirping sound of a cryptotympana facialis Ice cream on the way home Laughing over trivial things One day in summer, no different from any other day ...... You're not Hikaru after all, are you? Half a year ago, Hikaru went missing in the mountains. A week later, he came back on a whim. The voice, the figure, the thing that looked like Hikaru What was stirring inside... "Hikaru is no longer with us. ...... if that's the case." Starting the days with "something" in the form of a friend, The "same as usual" everyday life. But at the same time... Strange incidents begin to plague the village. Falling into the unknown "something" The curtain rises on a coming-of-age horror story. Teaser trailer URL: https://www.youtube.com/watch?v=fAfcm5Cydvs Official Website：https://hikanatsu-anime.com/ Scene images scene images Work Information Original story: Based on the comic "The Summer Hikaru Died" by Mokumokuren, originally serialized in the YOUNG ACE UP published by KADOKAWA Director/Series Composition : Ryohei Takeshita Character Design/Chief Animation Director ：Yuichi Takahashi DORODORO Animator : Masanobu Hiraoka Animation Production ：CygamesPictures Copyright ：©Mokumokuren/KADOKAWA/The Summer Hikaru Died Partners Copyrights must be indicated when posting or using the image materials. Original work information Title ："The Summer Hikaru Died Author ：Mokumokuren Previously published: Volumes 1-5 (Kadokawa Comics A) Available on YenPress https://yenpress.com/series/the-summer-hikaru-died
Nothing Stands in the Way of a Cinema Visit When the Right Movie is Playing SYDNEY, March 20, 2025 /PRNewswire/ -- The Global Cinema Federation (GCF), representing global cinema exhibition, is excited to announce the results of its latest global customer research, highlighting the voices of consumers worldwide. The GCF was created to support a healthy global cinema industry. Its Executive Committee, currently chaired by EVT CEO Jane Hastings, includes CEOs of the top 12 exhibition companies and two leading industry bodies globally, supported by an Advisory Board which includes 75 exhibition companies and 29 associations. Collectively, the GCF represents approximately 65 -70% of global box office. GCF Infographic More than 70% of global box office is generated by international markets outside of the US domestic market. The GCF recognises the importance of better educating the entire film ecosystem about the global market. To support this, the GCF has completed a second wave of global customer research, receiving over 68,000 responses across 15 markets. This research highlights the importance of understanding global audiences and fostering innovation in the industry. Key findings include: 72% of customers agree or strongly agree that a visit to the cinema is good value for money. 64% don't see any barriers to cinema visitation when there is a movie they want to watch, and customers largely prefer watching movies in cinemas, with only 6% preferring to wait to watch a movie on streaming. While customers are generally spending less on entertainment than six months ago, cinema spend is holding stable relative to other 'out of home' entertainment. Customers below 44 years are spending more on cinema than six months ago. The Net Promoter Score across all age groups is 37, indicating great engagement with the cinema experience. The younger demographic is even more satisfied, with a stronger Net Promoter Score of 48. The primary obstacle to global cinema attendance and frequency is a lack of appealing films. However, on an unprompted basis, 68% of customers are excited by the upcoming film line-up, with this figure being materially higher at 83% among customers aged 34 years and younger. There is less appeal for audiences over 45 who have indicated that while they have both the time and desire to attend the cinema, an insufficient volume of films that are compelling to them is a hold back. 55% of customers want more action/adventure movies released in cinemas, despite a solid line-up of action/adventure movies on the film slate. Additionally, 51% of customers want more comedies in cinemas, and 46% want more suspense/thriller movies, which are currently under-represented on the film slate. Several international markets have outperformed the USA domestic Box Office recovery. A lower dependence on Hollywood film supply and a greater volume and variety of local films in these markets is the most notable difference. Other lesser barriers to cinema attendance included the appeal of a customer's local cinema (7%) and lack of awareness of what is on at the cinemas (6%). While both are materially lower barriers, more marketing to improve awareness and continued investment in the cinema experience, present opportunities. Investment in the cinema experience globally is paying off. New cinema experiences, from premium large screens to enhanced food and beverage offerings to family concepts, have strong appeal to customers, indicating that global cinema innovation continues to drive customer interest and spending. Innovation and Resources This year, the GCF also introduced globalcinemafederation.com, a go-to resource for global industry insights, including the latest in global cinema experience innovation. As the cinema landscape evolves, customers now have more ways than ever to enjoy a film, with options ranging from high-tech premium large screens to boutique food and beverage experiences. The rise of diverse seating choices, catering to different budgets and preferences within the same auditorium, is proving to be a winning international trend. Jane Hastings, GCF Chairperson, commented "One of the goals for the GCF is to ensure global customer insights are shared with the film community so we can collectively better respond to customer demand. The industry often talks about how to drive frequency to the cinema and the answer is clear; releasing more films in cinemas that customers want to see drives frequency. Our customers are telling us that they have no barriers to going to the cinema when there is a movie they want to see. There is a great opportunity to meet this demand so attendance and frequency grow. We also want to shine a light on the investment in innovation in cinema experiences worldwide, which is driving ticket price growth and supporting record-breaking box office results globally". The cinema experience continues to evolve and as supply recovers to better meet movie-goer demand, the industry can continue to set new box office records. About the GCF: www.globalcinemafederation.com Supportive Imagery and Infographic: here GCF Executive Committee members • AMC Theatres • CGV • Cinema United • Cinemark • Cineplex • Cinepolis • Event Cinemas • Kinepolis • Pathe • PVR INOX Limited • Regal Cineworld • TOHO Cinemas • UNIC • Vue International • Wanda
HONG KONG, March 19, 2025 /PRNewswire/ -- On March 17, Youhug Media successfully held its Global Content Showcase 2025 in Hong Kong under the theme "Revitalizing Chinese Dramas". Following its global content showcase in 2024, the company made a grand return to the 2025 Hong Kong International Film & TV Market (FILMART) with exciting projects, including "Rebirth", "Mobius", "Blossoms of Power", "Sword Duel at Mount Hua", "The Awakening", "Escape To Your Heart", "Inferno of Wings", and "Have It All". In addition, the latest global report for "Blossom" was unveiled, and Youhug announced enhanced collaborations with multiple international platforms to advance the global reach of Chinese drama series. Over 400 guests attended the event, including Luo Yi, Deputy Director-General of Shanghai Municipal Administration of Radio and Television, as well as Gan Li, Deputy Director of Sichuan Provincial Bureau of Radio and Television. Industry partners, cast and crew members, and media representatives also joined the content showcase. With a Global Perspective, Youhug Advances Global Strategy for Chinese Dramas Since its establishment in 2012, Youhug has adhered to the core philosophy of "Crafting Excellence with Dedication," striving to lead the Chinese film and television industry. Its productions have been featured on major global platforms including Tencent, Youku, iQIYI, TVB, Viu, HOYTV, NETFLIX, and Viki. At the event, Lyu Chao, CEO of Youhug Media, remarked, "We chose FILMART as the platform for unveiling our 2025 line-up because of the remarkable success our projects achieved here last year. Hong Kong has become a strategic hub for Youhug, providing a gateway for our dramas to reach international audiences. Through collaborations with TVB and other partners, we are committed to producing high-quality Chinese-language dramas. Beyond the costume drama introduced today, we will continue to incorporate more Chinese-language themes, production teams, directors, and talents to expand the global influence of Chinese storytelling." Looking ahead, Lyu Chao envisions Youhug developing more internationally competitive dramas. Over the next decade, the company plans to establish an annual presence in Hong Kong, using the city as a launchpad to showcase Chinese-language content to the world—inviting global audiences to experience the richness of Chinese culture. Youhug Unveils Four Major Productions with Diverse Storylines 1. "Blossom": 'Blossom-Style Aesthetics' Captivate Global Audiences In 2024, "Blossom" became a hit drama, enchanting viewers worldwide with its distinctive 'Blossom-style aesthetics.' Domestically, its popularity index surpassed 30,000 on Tencent Video and aired during prime time on Zhejiang TV and Henan TV. Internationally, the series amassed over 500 million views across various platforms. At the press conference, the announcement of the global success of "Blossom" moved attendees and fans, with many expressing sentiments such as, "It's like watching our own child finally succeed." Reflecting on this remarkable global achievement, Zhang Yingying, Producer of "Blossom" and General Manager of Huaxi Studio under Youhug Media, remarked that its international resonance stems not only from three key principles—a return to Eastern aesthetics in visual storytelling, a deep connection to traditional cultural values, and an unwavering commitment to cinematic craftsmanship—but also from the support of audiences worldwide. Lead actress Meng Ziyi and lead actor Li Yunrui made special appearances, expressing their deep connection to the series and their roles. They hope this sincere work, representing Eastern aesthetics, will reach and be cherished by a broader audience. It is reported that in May this year, the Cantonese version of "Blossom" will premiere on HOYTV in Hong Kong and Macau, China, allowing more viewers to experience the unique charm of its "Zi-Style Aesthetics." 2. "Rebirth": Classic IP with Innovative Interpretation, Epic Snowfield Battles Define "Rebirth Spirit" The television series "Rebirth" began filming last December and is currently being shot in Hengdian. Directed by HaoJiJi Lv, the drama continues the classic narrative with innovative storytelling. After a deadly battle on the frozen lake, Chu Qiao pretends to lose her memory to get close to the tyrant Yan Xun and take revenge. She must choose between helping the Tang Prince or the mysterious King of Qinghai, who looks exactly like her old friend Zhuge Yue – a man she thought was dead. Together, they fight to end Yan Xun's cruel rule and build a fair world for all. At the showcase, executive producer Zhang Meng, along with lead actors and actresses Yunrui Li, YangTianTian Huang, KangLe Zhang, and Meng Xia, unveiled the global premiere trailer. The trailer instantly transports viewers to the -30°C frozen battlefield. As different forces emerge, an epic battle for vengeance is about to begin. Audiences will hold their breath watching the characters face impossible dangers. Director HaoJiJi Lv employs visually striking scenes and surreal color palettes to show Chu Qiao's powerful journey. In one iconic moment, she slashes through chains of oppression with her sword in a snowstorm, her fierce cry cutting through the darkness like a declaration of freedom. As Zhang Meng expressed, "Chu Qiao embodies a courageous and resilient female figure, reflecting how individuals can find hope in despair, and break free from constraints to achieve rebirth. We hope the 'Rebirth Spirit' inspires and encourages everyone." 3. "Mobius": Chinese Suspense Blends Global Elements, Expands "Light Sci-Fi" Horizons The web series Mobius, an innovative suspense project by Youhug Media, marks a creative leap in the genre. Directed by Liu Zhangmu and starring Bai Jingting, Janice Man, and Song Yang, the series blends light sci-fi elements with a time-loop narrative to unravel a mystery centered on the enigmatic "Figure X," delving into the complexities of human nature within a surreal framework. At the showcase, director Liu Zhangmu and Zheng Tianfu, General Manager of Youhug Lego Studio and producer, unveiled the global premiere trailer. The preview introduces Bai Jingting as police officer Ding Qi, trapped in a bizarre criminal conspiracy. While using an accidental time-loop ability to pursue the killer, he discovers the perpetrator also manipulates the laws of time and space. This battle against causality promises to redefine time-loop storytelling in sci-fi, setting the stage for a mind-bending showdown. Additionally, Liu Zhangmu introduced Chutimon Chuengcharoensukying (Aokbab), lead actress of the hit Thai film Bad Genius, will join the cast in a pivotal role. Zheng Tianfu noted, "This collaboration marks Youhug's first partnership with top-tier Asian actress, infusing international DNA into Chinese suspense dramas. We hope 'Mobius' will resonate with both domestic and global audiences." 4. "Blossoms of Power": Power, Incense Lore, and a New Vision for Historical Drama The television series "Blossoms of Power is adapted from a novel by Jin Huang, an author on Qidian platform under Yuewen Group. Following the success of "Blossom", Tencent Video and Youhug Media have collaborated once again to produce this meticulously crafted historical drama. The series reunites the original production team, with Zhang Yingying as the producer, Zhong Qing directing, and starring Meng Ziyi and He Yu in the lead roles. The narrative follows Gu Qingzhi, who, after the tragic loss of her family, returns under the identity of Shen Xihe, a princess from the northwest. She transforms from a delicate "rose of the frontier" into a cold-hearted princess, determined to control her own destiny and navigate the political landscape. Meanwhile, Crown Prince Xiao Huayong, hiding his sharp intellect behind frail health, is keenly aware of the court's intricacies. Together, they embark on a journey of mutual understanding and alliance, steering the tides of power. At the showcase, producer Zhang Yingying, along with lead actress Meng Ziyi and lead actor He Yu, unveiled the first concept poster. The poster, though showing the protagonists from behind, is rich with subtle details. The "drifting scented mist" symbolizes Shen Xihe's mastery in using scents to influence hearts. The contrast between the vast Northwest frontier and imperial courts hints at two rival factions poised for collision.. The protagonists stand between light and shadow, with the heroine guiding the hero from darkness, symbolizing their joint ascent to power. Zhang Yingying stated, " 'Blossoms of Power' aims to present viewers with a feast of visual and narrative elements: we feature a strong female lead with grand vision; a compelling plot that unravels mysteries in the pursuit of truth; and profound themes that embody Eastern aesthetics, promote traditional culture, and convey ideals of family and nation". Notably, "Blossoms of Power" marks the third collaboration between Zhang Yingying, Zoey Meng, and He Yu. Their first project together, "Duel on Mount Hua", a fresh interpretation of Jin Yong's classic wuxia universe celebrating chivalry—will also premiere soon, aiming to captivate global audiences. Youhug Media Expands Slate with Fantasy, Female-Centric, and Strange Tales In addition to the above projects, Youhug is simultaneously releasing several promising works: "The Awakening": Directed by Cao Dun, with Fu Yongqiang as the chief screenwriter and Gong Jue participating in the scriptwriting, This series follows the story of Forty-Seven, a resident of Wangcheng's sewer system, who helps others escape persecution by evil forces while awakening memories and uncovering past secrets. A fantasy adventure, ready to unfold! "Escape To Your Heart": Collaborating with Tencent Video and the original author of "Blossoms," Zhi Zhi, this project is currently in development. Written by renowned screenwriter Nan Zhen, the story directly addresses women's dilemmas in marriage and relationships. Through classical narrative, it confronts contemporary issues, embodying the "Girl Power" spirit across time. Filming begins mid-year. "Inferno of Wings": Adapted from Bai Lu Cheng Shuang's Eastern fantasy novel, Helmed by chief director Guo Jingming and scripted by Qian Jue, the series is set to begin production in the second half of the year. Set in a world where humans, demons, and gods coexist during the Da Qian Dynasty, the narrative blends urban legends with everyday life, showcasing Eastern strange tales aesthetics. "Have It All": A collaboration between Youhug Media and Yuekai Entertainment, this historical legend drama combines classical Eastern charm with contemporary relevance. Screenwriters Zou Yue and Quan Ying craft characters who, through courage and strategy, defy fate to protect their beloved country and people. Future Outlook: Crafting Global Stories, Making "Chinese Content as Top Content" Youhug Media's Global Content Showcase not only served as a platform to display content but also marked a strategic declaration of its transition from "local creation" to "global storytelling". In his speech, Lyu Chao emphasized, "Whether it's from martial arts spirit to modern suspense, or from classical aesthetics to deep human portrayal, we aim to use each work as a bridge to let the world feel the warmth of Chinese stories". Youhug will continue to promote "Chinese dramas going global" through international expressions of Eastern aesthetics and precise layouts of diverse genres, ultimately achieving the vision of "Chinese content as top content."
BEIJING, March 19, 2025 /PRNewswire/ -- On Mar. 14, iQIYI, China's leading online entertainment platform, convened the country's most comprehensive gathering of mini and short drama professionals at its inaugural Glittering Night ceremony in Suzhou, Jiangsu province, where industry leaders collectively endorsed the sector's critical transition from quantity-driven output to premium content creation. The dual-format occasion combined executive forums addressing content standardization with evening celebrations honoring premium productions like short- and mini-drama of the year, and revealed new strategic programs to elevate production values through 2025. With over 70 distinguished actors and more than 400 creators in attendance, the event presented 34 competitive honors while charting industry-wide quality benchmarks. During his remarks at the forum, iQIYI Founder and CEO Yu GONG reiterated that iQIYI will continue to enhance the aesthetics and value of mini and short drama content, making full use of artificial intelligence and virtual production technology to improve the quality of short-form content produced. "Building a content ecosystem consisting of both long and short-form content is iQIYI's firm development strategy. No matter the length, we hope that viewers will be able to find content they like on iQIYI," Gong stated. Strategic ecosystem development for premium productions As part of its integrated long-form and short-form content strategy, iQIYI has structured its mini/short drama ecosystem through two standardized formats: the vertical-screen "Mini-Drama Theater" (1-5 minutes/episode) and the horizontal "Short-Drama Theater" (5-20 minutes/episode). Previously, the industry norm heavily favored spending large budgets on advertising and marketing rather than quality content. However, the transition to high-quality content production is essential for the industry's advancement. With its massive user base, expert production capabilities, mature membership model, and friendly revenue-sharing rules, iQIYI is well positioned to raise the standard for development of the mini and short drama industry under a clear strategy of creating a content ecosystem that includes both long and short-form. iQIYI Senior Vice President Haitao YANG detailed the platform's strategy for making premium short-form content by establishing an open content ecosystem and encouraging more creators to work together to create a diverse range of mini and short dramas through various models of cooperation. iQIYI has also further refined user segmentation through the different positioning of the iQIYI main app and iQIYI Lite app. The strategic framework has already manifested in iQIYI's latest production pipeline, with the forum serving as a launchpad for 47 new titles. The upcoming mini drama lineup spans multiple genres such as fantasy, costume, and comedy, incorporating youthful, internet culture-infused content. The short drama lineup includes sequels to popular IP series such as "Original Sin" and "A Ming Dynasty Mystery" among numerous other premium titles. Additionally, iQIYI announced a new plan for cooperation based on its existing "Thousand Mini-Dramas Initiative" and "Hundred Short-Dramas Initiative." The new project — the "Hundred Hong Kong Mini-Dramas Initiative" — is jointly launched by iQIYI and two partners, and will solicit IP adaptations and productions from upstream partners to recreate the craze for classic Hong Kong films. Moreover, with the rollout of greater high-quality content, iQIYI aims to boost traffic of premium mini and short dramas through efficient content marketing, opening up greater commercialization opportunities and improving advertising monetization. Honors to recognize premium content and creators At the Glittering Night 2025 ceremony in the evening, several dramas, stars, and creative teams were recognized for their exceptional works. In the short drama category, 30 dramas and 42 actors and creators received 16 different honors, with dramas including "First Marriage" and "Blind Woman" receiving outstanding short drama, "Original Sin" receiving most popular short drama, and "The Great Nobody" receiving short drama of the year. Actors including Muchen LI, Jiayi WU, and Zhixin FAN received short drama star of the year. In the mini drama category, 12 dramas and 47 actors and creators received 18 different honors, with dramas including "Deng Feng Tai" (translates as "Ascending the Phoenix Platform") and "Palace of Schemes" receiving outstanding mini drama, and "The Emperor's Dominance" receiving mini drama of the year. Actors including Yizhen XU and Xi ZHONG received mini drama star of the year. Yu GONG, Founder and CEO of iQIYI CONTACT: iQIYI Press, press@qiyi.com
HONG KONG, March 18, 2025 /PRNewswire/ -- China Literature Limited ("China Literature" or "the Company", stock code: 0772), a leading online literature and intellectual property ("IP") incubation platform in China, today announced the audited consolidated results for the year ended December 31, 2024. Results Highlights (1) Total revenues increased by 15.8% year-over-year to RMB8,121.1 million (USD1,129.7 million).- Revenues from online business increased by 2.1% year-over-year to RMB4,030.6 million (USD560.7 million), mainly due to consistent improvement made to core product operations and production of high-quality content.- Revenues from intellectual property operations and others increased by 33.5% year-over-year to RMB4,090.5 million (USD569.0 million), mainly due to solid growth across our IP operations businesses. On a non-IFRS (2) basis, which is intended to reflect core earnings by excluding certain one-time and/or non-cash items:- Operating profit was RMB985.4 million (USD137.1 million), compared with RMB1,049.8 million in 2023.- Profit attributable to equity holders of the Company was RMB1,141.7 million (USD158.8 million), compared with RMB1,130.4 million in 2023.- Basic earnings per share was RMB1.13. Diluted earnings per share was RMB1.12. On an IFRS basis:- Operating loss was RMB336.1 million (USD46.8 million), mainly due to an impairment loss of goodwill attributable to New Classics Media ("NCM"). Operating profit was RMB709.3 million in 2023.- Loss attributable to equity holders of the Company was RMB209.2 million (USD29.1 million), compared with RMB804.9 million profit attributable to equity holders of the Company in 2023.- Basic loss per share was RMB0.21. Diluted loss per share was RMB0.21. (1) Figures stated in USD are based on USD1 to RMB7.1884. (2) Non-IFRS adjustments exclude share-based compensation, M&A related impact such as impairment provisions, net losses from investee companies and amortization of intangible assets, as well as related income tax effects. (3) Certain figures included in this press release have been subject to rounding adjustments. Accordingly, figures shown as totals may not be an arithmetic aggregation of the figures shown in the breakdown items. Mr. Hou Xiaonan, Chief Executive Officer of China Literature, commented, "Guided by our core strategy of 'focusing on quality content and creating long-lasting IPs,' we successfully released a series of blockbuster titles in 2024 including the film 'YOLO (热辣滚烫)', drama series such as 'The Legend of Shen Li (与凤行)', 'Joy of Life 2 (庆余年2)', 'The Tale of Rose (玫瑰的故事)' and 'Guardians of the Dafeng (大奉打更人)', as well as the updated animation series 'Battle Through the Heavens (斗破苍穹)', further reinforcing our leading position in the industry. To capitalize on the widespread influence of our popular content, we accelerated IP commercialization which drove the rapid growth of our merchandising business in 2024 with annual GMV surpassing RMB500 million. At the same time, we continue to explore the application of cutting-edge technologies to empower our content business. In February 2025, our 'Writer Assistant (作家助手)' creation tool became the first in the industry to integrate the DeepSeek-R1 model, providing writers with even more intelligent assistance. Going forward, we will continue to execute our high-quality content strategy to create IP with enduring vitality while leveraging the latest cutting-edge technologies to further enhance its value." Financial Review (3) Revenues increased by 15.8% year-over-year to RMB8,121.1 million (USD1,129.7 million). Revenues from online business increased by 2.1% year-over-year to RMB4,030.6 million (USD560.7 million). A further breakdown of this category is as follows: i) Online business revenues from our self-owned platform products increased by 3.4% year-over-year to RMB3,531.0 million (USD491.2 million), mainly due to consistent improvement made to core product operations and production of high-quality content; ii) Online business revenues from our channels on Tencent products decreased by 28.2% year-over-year to RMB245.3 million (USD34.1 million), mainly due to a decrease in advertising revenues associated with the refinement of our content distribution practices and prioritization of distribution through core pay-to-read products; and iii) Online business revenues from third-party platforms increased by 32.0% year-over-year to RMB254.2 million (USD35.4 million), primarily due to expanded collaboration with third-party distribution partners. Revenues from IP operations and others increased by 33.5% year-over-year to RMB4,090.5 million (USD569.0 million). i) Revenues from IP operations increased by 34.2% year-over-year to RMB3,991.2 million (USD555.2 million). The increase was driven by solid growth across our IP operations businesses primarily from the release of more blockbuster drama series, films, and animated series, along with the expanded licensing of our IP for adaptation to business partners. Additionally, new initiatives such as short dramas and IP merchandise products grew significantly during the period; and ii) Revenues from the "others" category, mainly generated by sales of physical books, increased by 10.5% year-over-year to RMB99.3 million (USD13.8 million). Cost of revenues increased by 15.4% year-over-year to RMB4,199.1 million (USD584.2 million), in line with the increase in revenues, mainly due to higher production costs associated with an increase in the number of films and blockbuster drama series released during the year. Gross profit increased by 16.3% year-over-year to RMB3,921.9 million (USD545.6 million). Gross margin was 48.3%, compared with 48.1% in 2023. Interest income increased by 7.2% year-over-year to RMB178.3 million (USD24.8 million), reflecting greater interest income from bank deposits. Net other losses were RMB973.9 million (USD135.5 million) in 2024, compared with net other gains of RMB11.5 million in 2023. The year-over-year difference was mainly due to an impairment loss of goodwill of RMB1,104.6 million (USD153.7 million) attributable to New Classics Media. Selling and marketing expenses increased by 31.5% year-over-year to RMB2,261.0 million (USD314.5 million), as a result of an increase in promotional and advertising expenses associated with films and drama series released in 2024. As a percentage of revenues, our selling and marketing expenses increased to 27.8% in 2024 from 24.5% in 2023. General and administrative expenses decreased by 1.5% year-over-year to RMB1,143.5 million (USD159.1 million). As a percentage of revenues, general and administrative expenses decreased to 14.1% in 2024 compared with 16.6% in 2023. Net provision for impairment losses on financial assets was RMB58.0 million (USD8.1 million) in 2024, primarily reflecting the provision for doubtful receivables associated with IP operation businesses. Operating loss was RMB336.1 million (USD46.8 million) in 2024, compared with RMB709.3 million operating profit in 2023. On a non-IFRS basis, operating profit was RMB985.4 million (USD137.1 million), compared with RMB1,049.8 million in 2023. Income tax expense was RMB110.7 million (USD15.4 million), compared with RMB97.9 million for 2023, primarily due to an increase in taxable income. Loss attributable to equity holders of the Company was RMB209.2 million (USD29.1 million) in 2024, compared with RMB804.9 million profit attributable to equity holders of the Company in 2023. On a non-IFRS basis, profit attributable to equity holders of the Company was RMB1,141.7 million (USD158.8 million), compared with RMB1,130.4 million in 2023. Key Operating Information Average MAUs on our self-owned platform products and self-operated channels were 166.6 million in 2024, a decrease of 19.0% year-over-year from 205.6 million in 2023. A further breakdown of MAUs is as follows: i) MAUs on our self-owned platform products remained largely stable on a year-over-year basis at 103.8 million, compared with 104.8 million in 2023; and ii) MAUs on our self-operated channels on Tencent products decreased by 37.7% year-over-year from 100.8 million to 62.8 million, primarily due to continuous optimization of operational efficiency, which involved distributing more content through core pay-to-read products, resulting in a decrease of MAUs on free-to-read channels. Average MPUs on our self-owned platform products and self-operated channels increased by 4.6% year-over-year from 8.7 million to 9.1 million in 2024, mainly due to growth in membership users following the launch of additional membership content in 2024. Monthly ARPU for our pay-to-read business was RMB32.0, decreasing by 1.5% year-over-year from RMB32.5 in 2023, due to a mix effect from lower ARPU contributions by newly acquired membership users. Other Key Information - EBITDA was RMB729.3 million (USD101.5 million), compared with RMB829.5 million in 2023. Adjusted EBITDA was RMB923.1 million (USD128.4 million), compared with RMB1,017.9 million in 2023. - As of December 31, 2024, the Company's net cash position was RMB9,935.7 million (USD1,382.2 million). - Free cash flow* was RMB2,333.2 million (USD324.6 million), compared to RMB872.8 million in 2023. - New Classics Media, on a standalone basis, recorded RMB1,638.9 million (USD228.0 million) in revenues and RMB340.7 million (USD47.4 million) in profit attributable to equity holders of the company in 2024. * Free cash flow: operating cash flow deducts payments for lease liabilities and payments for capital expenditures. Business Review and Outlook IP Creation We continued to strengthen the content ecosystem of our online reading business. In 2024, our reading platform added approximately 330,000 writers and 650,000 literary works, collectively contributing over 42 billion Chinese characters. High-quality works increased significantly, with the number of newly signed literary works with over 50,000 average subscribers per chapter up 50% year-over-year. Additionally, the number of new writers with annual income exceeding RMB500,000 grew over 70% year-over-year. Our community has become more robust, with the number of users casting over 1,000 monthly tickets in 2024 increasing more than 60% year-over-year. As a result of these initiatives, our MPUs grew 4.6% year-over-year to 9.1 million in 2024. IP Visualization We made significant progress in IP visualization, releasing a series of top-tier content in the field of film, drama series, animation and comics. According to the Creative Industries Technology Research Institute of Renmin University of China, China Literature had 3 out of the top 5 most valuable cultural IPs in 2024. Based on Enlightent data, among the top 30 most popular drama series in 2024, 16 were adapted from China Literature's IPs. Additionally, according to Guduo data, 14 of the top 20 most popular domestic animation works in 2024 were adapted from China Literature's IPs. In the live action TV and film segment, we launched several phenomenal blockbuster hits throughout the year. We have one box office champion film "YOLO (热辣滚烫)", which grossed RMB3.5 billion in box office revenue, and four drama series including "The Legend of Shen Li (与凤行)", "Joy of Life 2 (庆余年2)", "The Tale of Rose (玫瑰的故事)" and "Guardians of the Dafeng (大奉打更人)", dominating the online viewership rankings of domestic drama series. These achievements demonstrate our consistent ability to create and replicate blockbuster IPs, reflecting our strong capabilities in content creation and IP development. In the animation segment, we released new series including "World's Best Martial Artist (全球高武)" and "The Richest Man in Game (亏成首富从游戏开始)", as well as sequels to "Battle Through the Heavens (斗破苍穹)", "Start a Mountain (开局一座山)" and "The Fox Spirit Matchmaker (狐妖小红娘)", which topped popularity rankings on video streaming platforms during their release windows. Among them, the annual series "Battle Through the Heavens (斗破苍穹)" topped Tencent Video's annual best-selling list and won the title of "2024 Tencent Video VIP Member's Favourite Animation". In the comics segment, we completed the acquisition of Tencent Animation and Comics in 2024. Domestic comic IPs such as "The Outcast (一人之下)" and "The Fox Spirit Matchmaker (狐妖小红娘)" further enriched our leading IP offerings and continued to perform strongly. On the Tencent Animation and Comics platform, "The Outcast (一人之下)" ranked first in terms of revenue among domestic comics, while "The Fox Spirit Matchmaker (狐妖小红娘)" also ranked first in terms of annual revenue growth. The synergies being created between China Literature and Tencent Animation and Comics continue to deepen. This deep integration of our respective strengths in content, production capacity, and IP industry value chain will further unlock the potential and enhance the value of our top-tier IPs. In the short drama segment, we launched over 100 titles in 2024. Leveraging our content creator resources, we collaborated with outstanding writers and screenwriters to produce a number of high-quality short dramas, with the most popular title generating close to RMB40 million in gross revenue. In addition, one of our new releases at the beginning of 2025 has already achieved over RMB50 million in gross revenue within 7 days, underscoring the trend towards higher quality for short dramas. As the short drama market is growing rapidly, we will continue to capitalize on our high-quality production capacity and capabilities to seize the enormous opportunities the market presents. IP Commercialization and Monetization Leveraging the strong influence and user traffic generated by our high-quality content, as well as our improved innovative capabilities and deep market insights, we made significant progress in our IP merchandise business. In 2024, the total GMV for IP merchandise surpassed RMB500 million, of which the collectible cards accounted for over RMB200 million. The main IPs including "The King's Avatar (全职高手)", "Joy of Life (庆余年)", "Lord of the Mysteries (诡秘之主)", "The Outcast (一人之下)", and "The Fox Spirit Matchmaker (狐妖小红娘)" have all set new historical revenue records, showing widespread market influence. In addition, we have collaborated with over 150 authorized partners to develop merchandise products covering multiple verticals such as toys, 3C digital, and food and beverages etc. To expand our distribution channels, we set up over 10 self-operated livestream channels, as well as official online stores on Taobao and Tmall. We also opened 8 offline stores, covering leading ACG (Anime, Comics, and Games) shopping districts in key cities such as Beijing, Shanghai, and Hangzhou. In addition, through the distribution model, we have covered over 6,000 offline and over 3,000 online sales outlets, forming a comprehensive omni-channel sales network and laying a solid foundation for future business growth. The global IP merchandise market is enormous at over USD300 billion. While we are just beginning to commercialize our IP, we are confident that this will offer us significant growth prospects both online and offline. Our advantage lies in our ability to leverage IP to deliver emotions and unique experiences through our products, and to reshape the cultural consumption preferences of younger generations. Exploration in New Technologies We are aware of the enormous opportunities that AI brings to the content industry, and are actively embracing this transformation. We have taken a leading position in the development of the IP industry value chain, and are leveraging AI to enhance this competitive advantage across various business scenarios. As previously mentioned, our "Writer Assistant (作家助手)" creation tool integrates the DeepSeek-R1 model, allowing writers across the industry to experiment with it to develop best practices. Since its integration, daily active users of "Writer Assistant (作家助手)" have increased by over 30%, with the weekly usage rate of AI functions exceeding 50% and the average number of writers using the "Intelligent Q&A" function per day increasing tenfold. This will help online literary creation enter a more efficient and intelligent era. AI is also accelerating the globalization of our IP. In 2024, our overseas online reading platform, WebNovel, added more than 3,200 AI-translated works, accounting for 47% of all Chinese-translated works and about 40% of the top 100 best-selling lists. AI has enabled WebNovel to cover a wider range of languages, including Spanish, Portuguese, German, French, Indonesian, Japanese and many others. In 2024, revenue from non-English works translated by AI increased by more than 350%. As of December 31, 2024, WebNovel offered overseas users with approximately 6,800 Chinese-translated works and approximately 700,000 locally created original works. In addition, we are integrating AI into various formats such as audiobooks, radio dramas, animation, and videos to further accelerate the development of our IP. We are also applying AI to improve content recommendation and user interaction to enhance the user experience. Outlook We believe that the synergy of "IP+AI" will drive the content industry forward, creating a new ecosystem that stretches from content creation to user consumption. AI empowers IP, while IP provides scenarios for AI. The deep integration of the two will facilitate the transition towards multi-dimensional innovation and globalization, from which we are uniquely positioned to benefit. Looking ahead, we will embrace the latest technologies, continue the incubation of popular IPs, and build a leading IP industry value chain to engrain ourselves in the memories of the next generation. About China Literature Limited China Literature is dedicated to building a deep and immersive intellectual property ("IP") universe for the Mandarin-speaking world. It incubates original IPs from its online literature platform, which are subsequently adapted to a range of digital entertainment mediums, including comics, animation, film, TV series, web series and games. The virtual world created by these digital offerings becomes an inseparable part of a user's daily life. China Literature creates and promotes IPs mainly through Qidian Reading and QQ Reading, its leading online literature platforms, as well as New Classics Media, a renowned film and TV drama series production house in China. China Literature collaborates with Tencent, its shareholder and strategic partner, as well as other third-party partners to distribute and develop IP content and to enhance the value of its IP. Many of the Company's online literature works have been successfully adapted into animation, TV series, web series, films and games, including Joy of Life, Candle in the Tomb, Soul Land, The King's Avatar and My Heroic Husband. China Literature's rich and extensive content library as well as its unparalleled capability and resources to adapt IP into various entertainment formats is a significant competitive advantage that lies at the core of its business model. For more information, please visit http://ir.yuewen.com/. Non-IFRS Financial Measures To supplement the consolidated financial statements of the Company prepared in accordance with IFRS, certain non-IFRS financial measures, namely non-IFRS operating profit, non-IFRS operating margin, non-IFRS profit for the year, non-IFRS net margin, non-IFRS profit attributable to equity holders of the Company, non-IFRS basic EPS and non-IFRS diluted EPS as additional financial measures, have been presented in this press release for the convenience of readers. These unaudited non-IFRS financial measures should be considered in addition to, and not as a substitute for, measures of the Company's financial performance prepared in accordance with IFRS. These unaudited non-IFRS measures may be defined differently from similar terms used by other companies. In addition, non-IFRS adjustments include relevant non-IFRS adjustments for the Company's material associates based on available published financials of the relevant material associates, or estimates made by the Company's management based on available information, certain expectations, assumptions and premises. Our management believes that the presentation of these non-IFRS financial measures, when shown in conjunction with the corresponding IFRS measures, provides useful information to investors and management regarding the financial and business trends relating to the Company's financial condition and results of operations. Our management also believes that the non-IFRS financial measures are useful in evaluating the Company's operating performances. From time to time, there may be other items that the Company may include or exclude in reviewing its financial results. Forward-Looking Statements This press release contains forward-looking statements relating to the industry and business outlook, forecast business plans and growth strategies of the Company. These forward-looking statements are based on information currently available to the Company and are stated herein on the basis of the outlook at the time of this press release. They are based on certain expectations, assumptions and premises, some of which are subjective or beyond our control. These forward-looking statements may prove to be incorrect and may not be realized in future. Underlying the forward-looking statements is a large number of risks and uncertainties. Further information regarding these risks and uncertainties is included in our other public disclosure documents on our corporate website. CHINA LITERATURE CONSOLIDATED STATEMENT OF COMPREHENSIVE (LOSS)/INCOME Year ended December 31, 2024 2023 (RMB in million, unless specified) Revenues Online business(1) 4,030.6 3,948.1 Intellectual property operations and others(2) 4,090.5 3,063.6 8,121.1 7,011.8 Cost of revenues (4,199.1) (3,640.3) Gross profit 3,921.9 3,371.5 Gross margin 48.3 % 48.1 % Interest income 178.3 166.3 Other (losses)/gains, net (973.9) 11.5 Selling and marketing expenses (2,261.0) (1,719.5) General and administrative expenses (1,143.5) (1,161.0) Net (provision for)/reversal of impairment losses on financial assets (58.0) 40.6 Operating (loss)/profit (336.1) 709.3 Operating margin (4.1 %) 10.1 % Finance costs, net (1.8) (12.9) Share of net profit of associates and joint ventures 239.0 205.0 (Loss)/profit before income tax (98.9) 901.4 Income tax expense (110.7) (97.9) (Loss)/profit for the year (209.6) 803.5 Net margin (2.6 %) 11.5 % (Loss)/profit attributable to: Equity holders of the Company (209.2) 804.9 Non-controlling interests (0.4) (1.3) (209.6) 803.5 (Loss)/earnings per share (in RMB per share) - Basic (loss)/earnings per share (0.21) 0.80 - Diluted (loss)/earnings per share (0.21) 0.79 Notes: (1) Revenues from online business primarily reflect revenues from online paid reading, online advertising and distribution of third-party online games on our platform. (2) Revenues from intellectual property operations and others primarily reflect revenues from production and distribution of TV, web and animated series, films, licensing of copyrights, operation of self-operated online games, distribution of short dramas, sales of IP merchandise products and sales of physical books. CHINA LITERATURE CONSOLIDATED STATEMENT OF COMPREHENSIVE (LOSS)/INCOME Year ended December 31, 2024 2023 (RMB in million) (Loss)/profit for the year (209.6) 803.5 Other comprehensive income, net of tax: Item that may be subsequently reclassified to profit or loss Share of other comprehensive loss of associates and joint ventures (0.4) (0.6) Currency translation differences (18.9) (21.7) Item that may not be reclassified to profit or loss Net income/(loss) from change in fair value of financial asset at fair value through other comprehensive income 2.0 (4.3) Currency translation differences 79.4 66.4 62.1 39.8 Total comprehensive (loss)/income for the year (147.5) 843.3 Total comprehensive (loss)/income attributable to: Equity holders of the Company (147.1) 844.6 Non-controlling interests (0.4) (1.3) (147.5) 843.3 CHINA LITERATURE SEGMENT INFORMATION Year ended December 31, 2024 2023 (RMB in million, except percentages) Revenues Online business 4,030.6 3,948.1 Intellectual property operations and others 4,090.5 3,063.6 Total revenues 8,121.1 7,011.8 Cost of revenues Online business (1,975.0) (1,983.5) Intellectual property operations and others (2,224.1) (1,656.8) Total cost of revenues (4,199.1) (3,640.3) Gross profit Online business 2,055.6 1,964.6 Intellectual property operations and others 1,866.4 1,406.9 Total gross profit 3,921.9 3,371.5 Gross margin Online business 51.0 % 49.8 % Intellectual property operations and others 45.6 % 45.9 % Total gross margin 48.3 % 48.1 % CHINA LITERATURE CONSOLIDATED STATEMENT OF FINANCIAL POSITION As of December 31, 2024 December 31, 2023 (RMB in million) ASSETS Non-current assets Property, plant and equipment 97.8 128.3 Right-of-use assets 149.8 207.7 Intangible assets 6,158.8 7,330.1 Investments in associates and joint ventures 928.2 924.7 Financial assets at fair value through profit or loss 1,039.6 856.0 Financial asset at fair value through other comprehensive income 6.3 4.1 Deferred income tax assets 497.2 394.1 Prepayments, deposits and other assets 298.2 291.6 Term deposits 2,308.0 1,829.0 11,484.0 11,965.7 Current assets Inventories 693.0 743.7 Television series and film rights 529.8 995.1 Financial assets at fair value through profit or loss 3,252.9 2,442.7 Trade and notes receivables 1,703.4 1,988.2 Prepayments, deposits and other assets 907.4 1,212.6 Restricted bank deposits 4.5 - Term deposits 1,106.2 1,038.7 Cash and cash equivalents 3,264.2 2,801.8 11,461.4 11,222.8 Total assets 22,945.4 23,188.5 EQUITY Capital and reserves attributable to the equity holders of the Company Share capital 0.6 0.7 Shares held for RSU scheme (14.6) (16.6) Share premium 16,117.9 16,312.6 Other reserves 1,975.8 2,173.3 Retained earnings 294.7 555.0 18,374.4 19,024.9 Non-controlling interests 1.7 (0.5) Total equity 18,376.2 19,024.4 As of December 31, 2024 December 31, 2023 (RMB in million) LIABILITIES Non-current liabilities Lease liabilities 85.0 153.2 Long-term payables 10.8 1.2 Deferred income tax liabilities 129.4 134.5 Deferred revenue 21.9 24.2 Financial liabilities at fair value through profit or loss - 247.8 247.2 560.9 Current liabilities Borrowings - 10.0 Lease liabilities 81.2 74.9 Trade payables 1,044.6 1,119.7 Other payables and accruals 1,662.0 997.7 Deferred revenue 1,148.9 879.3 Current income tax liabilities 217.7 266.4 Financial liabilities at fair value through profit or loss 167.6 255.1 4,322.0 3,603.1 Total liabilities 4,569.3 4,164.0 Total equity and liabilities 22,945.4 23,188.5 CHINA LITERATURE RECONCILIATION OF OPERATING (LOSS)/PROFIT TO EBITDA AND ADJUSTED EBITDA Year ended December 31, 2024 2023 (RMB in million) Reconciliation of operating (loss)/profit to EBITDA and adjusted EBITDA: Operating (loss)/profit (336.1) 709.3 Adjustments: Interest income (178.3) (166.3) Other losses/(gains), net 973.9 (11.5) Depreciation of property, plant and equipment 40.3 33.4 Depreciation of right-of-use assets 72.0 82.0 Amortization of intangible assets 157.5 182.7 EBITDA 729.3 829.5 Adjustments: Share-based compensation 126.4 131.5 Expenditures related to acquisition 67.5 56.9 Adjusted EBITDA 923.1 1,017.9 CHINA LITERATURE RECONCILIATIONS OF IFRS TO NON-IFRS RESULTS Year ended December 31, 2024 Adjustments As reported Share-based compensation Net losses from investments and acquisitions(1) Amortization of intangible assets(2) Tax effect Non-IFRS (RMB in million, unless specified) Operating (loss)/profit (336.1) 126.4 1,174.8 20.3 - 985.4 (Loss)/profit for the year (209.6) 126.4 1,174.8 20.3 29.4 1,141.3 (Loss)/profit attributable to equity holders of the Company (209.2) 126.4 1,174.8 20.3 29.4 1,141.7 (Loss)/earnings per share (RMB per share) - basic (0.21) 1.13 - diluted (0.21) 1.12 Operating margin (4.1 %) 12.1 % Net margin (2.6 %) 14.1 % Year ended December 31, 2023 Adjustments As reported Share-based compensation Net losses from investments and acquisitions(1) Amortization of intangible assets(2) Tax effect Non-IFRS (RMB in million, unless specified) Operating profit 709.3 131.5 188.9 20.2 - 1,049.8 Profit for the year 803.5 131.5 182.2 20.2 (8.3) 1,129.0 Profit attributable to equity holders of the Company 804.9 131.5 182.2 20.2 (8.3) 1,130.4 Earnings per share (RMB per share) - basic 0.80 1.12 - diluted 0.79 1.11 Operating margin 10.1 % 15.0 % Net margin 11.5 % 16.1 % Notes: (1) Mainly includes goodwill impairment, impairment provisions and the fair value changes arising from our investee companies, the fair value changes of consideration liabilities related to the acquisition of NCM, and the compensation costs for certain employees and former owners related to acquisitions. (2) Represents amortization of intangible assets and TV series and film rights resulting from acquisitions.
A12 藝術空間
Film & Motion Picture
請先登入後才能發佈新聞。
還不是會員嗎？立即 加入台灣產經新聞網會員 ，使用免費新聞發佈服務。 （服務項目） （投稿規範）
