入场便宜了，赚钱的门槛却未必跟着降低。
「一个创作者加上 IP 和 AI 工具，就能完成漫剧创作全流程。」
在上周举行的阅文创作大会上，阅文集团 CEO 侯晓楠这样描述正在兴起的「一人公司」。当日，阅文发布首批 AI 精品动画项目，将 DramaBuddy 漫剧助手升级为 OPC 一站式平台，并推出「IP 委员会」模式，试图把故事从文字到影像，再到后续开发的过程连接起来。
看起来，AI 带来的机会似乎还在不断扩大。
但身处一线的漫剧从业者们，正感受着更真实、更锋利的行业变化。
在会后，极客公园参与了对阅文 AI 平台负责人陈炜于、酱油文化创始人黄浩南（业内称「酱油」）、前尾猴文化总经理三行的采访。其中，酱油作为最早一批扎进 AI 漫剧赛道的从业者，从去年风口期到今年红海期，他的经历几乎就是行业变化的缩影—— 漫剧越做越快、产能越翻越高，赚钱却反而没那么容易了。
一、产能翻了几倍，营收却没怎么涨
在酱油的印象里，一年前的漫剧生意要好做太多。
2025 年这个时候，行业默认的制作标准是 1000 元 / 分钟，一部 80 分钟的漫剧做下来成本约 10 万元。他的团队 10 个人凑在一起，一个月才能磨出一部剧，即便产能不高，利润也相当可观，属于「躺着都能赚钱」的阶段。
仅仅一年时间，整个成本和产能模型就翻了个儿。
如今行业里标准化的 80 分质量漫剧，单分钟成本已经压到 400 元，一部 80 分钟的作品总成本约 4 万元，比去年降了 60%。人效更是涨了数倍：从过去 10 个人一月做一部，变成现在 1 个人一月就能出三部。
图片来源：ChatGPT 生成
但产能的暴涨并没有换来营收的同步增长。酱油算了笔账：去年公司一个月做四五十部剧，营收大概两三千万元；现在月产能冲到两三百部，国内月营收还是差不多两千万元上下。「量上去了，单价掉下来了，整体收益没怎么涨」，这是他最直接的感受。
背后是整个行业成本结构的翻转。去年成本的大头是人工、剪辑、配音，AI 算力 Token 只占 20%-30%；现在反过来了，Token 成本占到了一半，人工只剩 20%，剩下的是剧本和杂项开支。「人是省了，但算力贵了」，酱油总结道。
陈炜于的观察是，现在行业实际上分化成了两个极端：批量剧里人力已经压到三成以下，算力占六到七成，基本一人一天就能出一部；精品剧则反过来，前面的美术、导演、大美术成本依然很高，「有经验、有独特见解的人，在 AI 时代反而越来越值钱，因为下面的产能可以无限放大，前面的品味变得关键」。
爆款的门槛也在肉眼可见地下移。去年单部收入破千万才能算行业爆款，现在能有十万、二十万收入就已经属于头部梯队。 内卷同样蔓延到了海外。酱油观察到，TK 平台的月上新量从今年 6 月的不到 1000 部，短短三个月冲到了二十万部上下；播放量越涨越高，分成却越跌越低—— 最早 1 亿播放能拿 14 万美金，后来 5 亿播放才拿 12 万，最近 3 亿播放就只分到 4 万美金。
市场风向的切换速度也在逼着从业者不停调头。
年初仿真人题材有平台红利，全行业扎堆做；暑假学生用户起来了，3D 题材爆发，大家又立刻转场；现在又回到了仿真人和 3D 各占一半的均衡状态。「原来是老天爷喂饭吃，现在是求着老天爷抢饭吃」，这句调侃里藏着从业者的真实焦虑。
二、机构在收缩，OPC 开启全民漫剧时代
这次阅文大会正式推出 OPC 一站式平台，同时披露已经签约 5000 多个个人及工作室，前十大 OPC 创作者年收入均突破百万。在酱油看来，这不是什么新信号，而是行业已经发生的变化—— 机构的优势在弱化，个体创作者正在成为产能主力。
图片来源：阅文
他甚至有个更激进的判断：「2026 年结束之后，中国可能就没有传统意义上的 AI 漫剧机构了，未来全是 OPC。」
底层逻辑是平台和行业的关系变了。
过去机构是平台的「省心搭档」，不用对接几万个人，直接管几家头部公司就行，所以机构能拿到保底、政策补贴、独家权益。但现在平台的思路转向了 OPC：与其把产能绑在少数机构身上，不如扶持十几万、几十万个个体创作者，供给更充足，抗风险能力也更强。
技术平权则彻底推倒了入行门槛。
AI 漫剧被酱油称为「5 年内最低成本的创业风口」，三五个人凑几万块启动资金，薅一薅免费的 AI 工具额度，花一两个礼拜就能做出一部剧，赚了都是净利润。他还听过更夸张的案例，一个初中女生用手机加 AI 工具，做出来的短视频有 300 万点赞。
「制作已经没有门槛了」，在他看来，现在真正稀缺的不是制作能力，是懂内容、会挑 IP、能把控节奏的人。但行业现状恰恰是内容人才紧缺。
三行在入行前甚至混进一家漫剧公司 "卧底" 过，发现对方的剧本负责人是写剧本杀出身，老板从茫茫人海里把他捞进来，他又挑了一批同样非内容出身的编剧，「老板自己也不懂内容，甚至不知道自己挑中的人不懂」。
在他看来，网文作者出身的人做漫剧是一种 "降维打击"—— 起点的推荐机制是四级淘汰赛，第一级 60 个人里只晋级 2 个，能在首页露脸的作品，身下一定躺着几百上千具「尸体」。这种在免费盗版网文里练出来的市场嗅觉，是现在大多数漫剧公司缺的东西。
头部机构也早已开始收缩。酱油文化从巅峰时期的 1500 名员工，缩减到现在的几百人，不是因为经营不善，而是技术迭代后不需要这么多人了。三行的公司则干脆走精品路线，每月产能控制在 10 到 20 部，本质上就是一个「超级个体」——几乎所有作品他自己导演、自己剪分镜，公司同事只负责打下手。
三、爆款再多，也难出经典 IP？
产能爆炸、个体涌入、成本跳水，行业热闹的另一面，是酱油观察到的一个隐忧：AI 时代，漫剧可能再也出不了真正的经典 IP 了。「AI 从出来的第一天开始，就把成名之路给封死了」，这是他做了两年 AI 漫剧最深的感触。
过去一部《铁齿铜牙纪晓岚》能流传三十年，现在哪怕做出同样水准的作品，也不可能拥有同样的传播度和记忆点。原因很简单：太多了。
一个月几十万部新剧上线，一天就有十部「爆款」，观众根本看不过来，更记不住。 就像小时候看动画，翻来覆去就是《火影忍者》《死神》《海贼王》那几部，每个人都印象深刻；现在一个月 30 万部动画，再精彩的内容也会被淹没。「传播得快，但没记忆点，形成不了真正的 IP」。
这也形成了一个行业悖论：有天赋的创作者越来越多，却越来越不值钱。 一个普通人靠一部作品拿到 500 万点赞，放在过去绝对是天才级表现，但现在几乎没有长期商业价值—— 观众记不住这个人，也不会为他的下一部作品买单。「今天你爆，明天我爆，跟抽奖一样」，这样的爆款更像一次性流量快消品，沉淀不下来个人品牌，也成不了长效 IP。
去年，酱油还在想着怎么扩张团队、扩大产能。如今他坦言，自己现在花了不少精力去找下一个风口。公司还在运转，剧也越做越多，但那个一边招人、一边收入快速上涨的增量阶段，已经过去了。
从一年前「躺着赚钱」的风口，到如今全民涌入的红海——AI 改写内容生产的浪潮里，没有哪个赛道比漫剧的迭代更剧烈。
行业的狂奔还在继续，当制作不再是门槛，当机构不再有优势，当爆款不再等于 IP，新的比拼已经开始了。
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Access is cheap, and the threshold for earning money is not necessarily lowered.
"A creator with an IP and an AI tool completes the full process of creating a comic.
At last week's conference on reading and writing, the group CEO Hou Xiaonan described the "one person company" that is emerging. On that day, reading publish's first al-Animation Project upgraded the DramaBuddy Comic Assistant to the OPC all-in-one platform and launched the IP Committee model, trying to link stories from text to image and then to subsequent development.
Looks like the opportunities that AI offers are still growing.
But those in the front line are feeling more real and sharper changes in the industry.
After the meeting, Polar Park participated in an interview with Chen Yu, head of the Ai platform, Huang Ho Nam, founder of the soy culture, known as soy sauce, and the general manager of the former monkey culture. Among them, the soy sauce was the first of its kind to get into the AI comic strip, and from last year's windfall to this year's Red Sea, his experience was almost a microcosm of changes in industry. - The faster the drama goes, the higher the capacity, the less easy it is to make money.
One, the capacity has doubled, but the revenue has not increased.
In the memory of the sauce, a year ago, the opera business was too much.
At this point in 2025, the industry's default production standard was $1,000 per minute, and an 80-minute comic was about $100,000. His team of 10 people came together for a month to make a play, which, even if it was not very productive, would be profitable and would be in a phase where "all can make money while lying down."
In just one year, the whole cost and the energy model were reversed.
Now the standard 80-point mass comics in the industry have been set at $400 per minute, and the total cost of an 80-minute work is about $40,000, 60 per cent lower than last year. Human effects have increased several times: from 10 people in the past to 1 person in one month to three.
Image source: ChatGPT generation
But the surge in capacity has not been replaced by a simultaneous increase in revenue. The soy sauce was written down: the company made 40 dramas a month and collected about $20 million a month; the capacity now runs to 200 and 300, and the national monthly revenue is almost $20 million. "It's up, it's down, it's not much of a gain." That's how he feels.
Behind them is a reversal of the cost structure of the entire industry. Last year, the bulk of the cost was manual, editing, voiceover, AI computing only 20-30%; now, Token costs half, manual only 20%, and the rest is script and miscellaneous expenses. "The man's saved, but he's expensive." Soy sauce.
Chen Yu’s observation is that the industry is now actually divided into two extremes: the mass show, which is already under 30%, has a capacity of 60 to 70%, and almost one person can produce one in one day; and the fine play, which, in turn, is still costly in the past: “People with experience and unique insight, in the AI era, are becoming more valuable because the capacity below can be magnified indefinitely and the taste of the past becomes critical.”
The threshold for the explosion is also visible. Last year, a single income of tens of millions was counted as an industry shortfall, and 100,000 or 200,000 are now part of the top ladder. It also spread overseas. The soy sauce observed that the new monthly volume of the TK platform went from less than 1,000 in June this year to 200,000 in just three months; the higher the broadcast, the lower the split -- the earliest $100 million for the play, then $120,000 for the 500 million, and the last 300 million for the play was only $40,000.
The speed of market winds is also forcing practitioners to turn around.
At the beginning of the year, there was a platform dividend, and the whole industry worked; summer school users got up, 3D went up, and everybody turned around; and now they're back to a 50-percent balance between the two. "It's the Lord who feeds, it's the Lord who begs for food." The phrase hides the true anxiety of the workers.
ii. Institutions are shrinking, OPC begins the age of popular comics
This conference officially launched the OPC all-in-one platform and revealed that over 5,000 individuals and studios have been contracted, with the top 10 OPC creators earning a million dollars a year. In the case of sauce, this is not a new signal, but the changes that have taken place in the industry -- the institutional advantages are weakening, and individual creators are becoming the main producers.
Image source: Reading
He even had a more radical judgment: "After the end of 2026, China may not have a traditional AI comic agency, and the future is all OPC."
The bottom logic is that the relationship between the platform and the industry has changed.
In the past, the agency was the platform's "savvy partner" and was able to secure a base, a policy subsidy, and an exclusive interest, without having to deal with tens of thousands of people and directly run several front-line companies. But now the platform's thinking has shifted to OPC: instead of tying capacity to a few institutions, it is better to support hundreds of thousands and hundreds of thousands of individual creators, to provide more adequate supplies and to be more risk-resistant.
Technological parity, on the other hand, has completely pushed down the entry threshold.
AI, called "the lowest-cost start-up business in five years" by soy sauce, three or five people with tens of thousands of start-up money, a free AI tool quota, could make a play in a week or two, making a net profit. He also heard a more exaggerated example of a girl in junior high school using a mobile phone plus an AI tool, making short video a 3 million compliment.
In his view, what is really scarce is not the ability to produce, but the person who knows the content, picks the IP, controls the rhythm. However, the current state of the industry is precisely a shortage of content.
Before entering the business, he even went undercover in a comic company, found that the director of the script was a writer, that the boss had taken him in from the sea, and that he had picked up a series that was also of a non-content origin, "The boss himself doesn't understand the content or even the person he chose."
In his view, comics by people of Internet author origin are a "sliding blow" -- the starting mechanism is a level four phase-out, with only two promotions out of 60 individuals who can show their faces on the front page and must lie under hundreds of thousands of bodies. This market smell, which is practiced in free pirated online texts, is something that most comic companies now lack.
The head structure has also begun to shrink long ago. The culture of soy sauce has shrunk from 1,500 employees at its peak to hundreds today, not because of bad business, but because of technology. The three-line company simply follows a fine line, with capacity controlled by 10 to 20 per month, essentially a "superman" — almost all of his own work, he cut his own storyboard, and the company's co-workers were only responsible for doing it.
Ip?
The other side of the boom, the influx of individuals, the cost of diving, and the industry's rush is a concern observed by sauce: in the AI era, comics may no longer be the real classic IP. “Ai has blocked the path to fame from the very first day of his life.” This is one of the deepest impressions of two years of an AI comic.
In the past 30 years, an Iron-Oxy Teeth Pill has been in circulation, and it is not possible to have the same degree of transmission and memory point, even with the same level of production. The reason is simple: too much.
The hundreds of thousands of new shows on the line a month, 10 "blows" a day, and the audience can't even see it, much less remember it. As a child, everyone is impressed by the number of animations that go back and forth, like "The Shinigami of Fire" and "The King of Pirates"; now, 300,000 animations a month, and the best content will be flooded. "It spreads fast, but without memory, it doesn't make a real IP."
It also creates an industry paradox: the number of talented creators is growing, but they are becoming less valuable. An ordinary man gets 5 million hits on one piece, and it's definitely a genius in the past, but now there's hardly any long-term commercial value -- an audience who can't remember this person and who won't pay for his next piece. "Today you blow, tomorrow I blow, like a lottery, and it's more like a one-time fast-flow cut off, you can't sink your own brand, you can't make an IP.
Last year, the sauce was thinking about expanding the team and expanding the capacity. Now he says he's done a lot of work to find the next one. The company was still operating and the drama was growing more and more, but the incremental phase of the recruitment and rapid increase in income on that side was over.
From a year ago, when the wind went down and made money, to the current wave of red sea-AI rewriting of content production, no track was more intense than the comic.
The industry continues, when production is no longer the threshold, when institutions no longer have the advantage, when the explosive money no longer equals IP, and a new match has begun.
Auto-fetched and translated by AI Atlas. All rights belong to the original author.