Core Insights - The drama "Xiao Qi Qing Rang" has not yet achieved the expected "Tail Fish Universe" effect despite breaking records for heat value on Tencent Video shortly after its release [1][4] - Tencent Video is under pressure to make "Xiao Qi Qing Rang" a flagship project to demonstrate its capabilities in systematic IP development and to compete with rival platforms like iQIYI [4][5] - The "Tail Fish" IP is recognized as a challenging area in the industry, with mixed audience feedback and difficulties in adaptation [5][9] Performance Metrics - "Xiao Qi Qing Rang" achieved a heat value of 25,000 within 81 minutes of airing, but has since stagnated around 27,000 [1] - The show has a market share of only 13.8% and has been surpassed in rankings by "Da Sheng Yi Ren" [1] - The drama has attracted 14 sponsorships and achieved a total of 1,400 seconds of advertisement exposure, indicating strong commercial potential [12][14] Audience Reception - Audience feedback has been mixed, with criticisms regarding narrative balance and character development, particularly concerning the female lead [11] - The show has implemented a "scaredy-cat mode" to cater to different viewer preferences, reflecting Tencent's commitment to the project [11] Future Prospects - Tencent Video is accelerating its plans for the "Tail Fish Universe," with upcoming projects like "San Xian Mi Hui" and "Long Gu Fen Xiang" already in production [7][17] - The success of "Xiao Qi Qing Rang" has generated interest from brands and overseas platforms, enhancing the visibility of future projects within the IP universe [15] - The original novels for upcoming dramas are noted for their strong narrative and character development, which could contribute to the overall success of the "Tail Fish Universe" [17]

《枭起青壤》在超点完结日的热度跌回了仅次于开播日的新低，播放量也被后来居上的《大生意人》反超并且日渐拉开距离。 以迪丽热巴的流量级别、加上尾鱼"超大IP"的招牌来看，这样的数据表现实在不达大部分人的预期。 与此同时，尾鱼小说的书粉也没闲着，飞速翻出《枭起青壤》导演田里在八年前拍《河神》时的一段采访，文字中"尊重原著是在害人"如同一颗延时炸 弹，刚好在剧版遭遇质疑的当口"砰"地炸开。书粉怒火高涨，网友判断混乱，评论区从"你没懂原著"吵到"你就是不尊重原著"，再吵到"你拍的根本不是 原著"。 《枭起青壤》导演田里八年前的采访 如果只看这一轮骂战，你甚至会以为尾鱼小说是那种"读者自己都看不懂"的小众怪谈，可事实恰恰相反，尾鱼在网络文学世界可以说是"铁盘"级别的存 在，书粉忠诚度极高，长尾效应也足够稳，甚至到了她写什么、读者就追什么的程度。读者执迷于她笔下的东方志怪世界观和诡谲氛围，恨不得有人能把 她营造的"民间神秘感"和"精怪味道"完整拍出来。 可是，一旦进入影视化，情况立刻像被诅咒似的，《怨气撞铃》剧版被书粉自嘲"看了怨气大到想要撞铃"，《西出玉门》在黄沙中拍得索然无味，《七根 心简》被吐槽棚内虚拟拍摄看着廉价， ...

Core Viewpoint - The article discusses the varying success rates of authors in adapting their works into films and series, highlighting the concept of "adaptation luck" in the Chinese entertainment industry, particularly in the context of web literature and its transition to screen adaptations [1][4][5]. Group 1: Adaptation Success Stories - The article emphasizes the rise of author Qianshan Chake, whose works have gained significant popularity through successful adaptations, particularly with the web series "Mo Yu Yun Jian" and "Yan Hui Shi," which have achieved high viewership and engagement [6][14][16]. - Qianshan Chake's notable works, such as "Rebirth of the Noble Girl" and "Rebirth of the General's Poisonous Wife," have accumulated millions of views, showcasing her strong presence in the web literature scene [9][10]. - The success of her adaptations is attributed to the compelling female characters and engaging narratives that resonate with contemporary audiences, aligning with current trends in the entertainment industry [18][19][20]. Group 2: Challenges in Adaptation - The article contrasts the success of Qianshan Chake with other authors like Wei Yu, whose adaptations have faced criticism and poor reception, indicating that not all popular web literature translates well to screen [27][30]. - The difficulties faced by authors like Wei Yu stem from the complexity of their narratives, which often do not adapt easily to the visual medium, leading to challenges in maintaining the original story's essence [28][29]. - The article suggests that adaptation success is not solely dependent on the original work's popularity but also on the adaptability of its content and the execution of the adaptation process [30][39]. Group 3: Future of Adaptation - The article posits that authors can enhance their "adaptation luck" by considering the potential for screen adaptation during the writing process, as seen with the author of "Da Feng Da Geng Ren," who tailored his narrative for better compatibility with film and television [31][34]. - It highlights the importance of collaboration between authors and web literature platforms to create works that are more likely to succeed in adaptations, indicating a shift in the industry's approach to content creation [36][37]. - The article concludes with a hopeful outlook for both successful and struggling authors, suggesting that the evolving landscape of the entertainment industry may provide new opportunities for adaptation success in the future [44].