Core Viewpoint - The company is actively responding to the provincial government's initiative to promote online literature, web dramas, and online games, focusing on the "short drama going overseas" strategy [1] Group 1: Company Strategy - The company is advancing its "short drama going overseas" strategy by launching the Dramabyte platform in Southeast Asia and Europe [1] - The company has secured the overseas broadcasting rights and information network dissemination rights for its hit project "Eastern Palace" for the years 2023 and 2024 [1] Group 2: Market Expansion - The exclusive information network dissemination rights for "Eastern Palace" have been sold to platforms such as YouTube, Facebook, and Viki in Europe [1]

Core Viewpoint - The company is actively responding to the provincial government's initiative to promote online literature, web dramas, and online games, focusing on the "short drama going abroad" strategy [1] Group 1 - The company is launching its short drama platform, Dramabyte, in Southeast Asia and Europe and North America [1] - The company has renewed the overseas broadcasting rights and information network dissemination rights for its hit project "Eastern Palace" for 2023 and 2024, including exclusive rights sales for YouTube, Facebook, and Viki in Europe [1]

Core Viewpoint - The company is actively pursuing overseas business development, particularly in the realm of short dramas, and has secured distribution rights for its popular project "East Palace" in Europe [1] Group 1: Overseas Business Development - The company is responding to provincial initiatives to promote online literature, web series, and online games internationally, focusing on a "short drama going abroad" strategy [1] - The company's platform, Dramabyte, will be launched in Southeast Asia and Europe [1] Group 2: Content Distribution - The company has renewed the overseas broadcasting and information network dissemination rights for "East Palace" for the years 2023 and 2024, including exclusive rights for platforms like YouTube, Facebook, and Viki in Europe [1]

Group 1 - The article discusses the evolution of online romance literature, particularly focusing on female-centric narratives and their significance in expressing women's desires and experiences [2][11][19] - It highlights the academic efforts to legitimize online literature as a serious field of study, bridging the gap between academia and popular culture [10][11] - The work of Xue Jing, particularly her book "The Powder Empire: Online Romance Novels and Women's Discourse Politics," is emphasized as a critical analysis of the genre's transformation and its underlying themes [2][10][11] Group 2 - The article notes that early online romance novels often mirrored traditional narratives, but contemporary works have shifted to explore complex themes of power dynamics and personal desires [15][17][19] - It points out that the portrayal of male characters has evolved from idealized figures to more flawed representations, reflecting a deeper understanding of women's aspirations and societal roles [17][18][24] - The concept of "love as a tool" is introduced, suggesting that romantic relationships in these narratives often serve as a means for women to explore their own identities and desires [21][25][26] Group 3 - The article discusses the emergence of "love for women" literature, which emphasizes female values and experiences, and the dynamics between readers and authors in this context [48][49] - It addresses the societal implications of female empowerment through literature, highlighting the importance of creating a supportive community among women [56][57] - The narrative also touches on the broader themes of power and identity, suggesting that the exploration of female experiences in literature reflects ongoing societal changes and challenges [40][41][42]