At a time when AI technology is surging, China Literature, a subsidiary of Tencent, has also resolutely stepped into the battlefield of large models and launched the "China Literature Wonderful Pen" and its supporting application "Writer's Assistant Wonderful Pen Edition". However, behind the glamorous press conference, the challenges and dilemmas faced by China Literature cannot be ignored.

Hou Xiaonan, CEO of China Literature, sees China Literature as a "secret weapon" to change the commercialization dilemma, and claims that AI will become the "golden finger" of writers. However, achieving this vision is far from easy. Although China Literature Miaobi has shown certain potential in assisting creative creation, such as helping to construct world views and character settings, the content it generates often lacks soul and is difficult to truly reach the hearts and minds of readers. In addition, for creators, AI-assisted creation is more like a double-edged sword, although it can reduce some of the workload, it may also lead to the mechanization of the creative process and stifle innovation inspiration.

What is even more worrying is that China Literature's performance in recent years has not been satisfactory. According to the financial report, the total revenue of China Literature Group in 2023 will be 7.011 billion yuan, a year-on-year decrease of 8%; Profit for the year was RMB803 million, a year-on-year increase of 32.3%, but under non-IFRS, the company's net profit attributable to the parent decreased by 16.2% to RMB1.13 billion. This is another full-year revenue decline for China Literature since 2022. This data undoubtedly casts a shadow on the road of China Literature's large-scale model. Against the backdrop of sluggish performance growth, it is a huge uncertainty whether China Literature will be able to continue to invest heavily in the development of large-scale model technology and successfully realize commercialization.

China Literature Group has high hopes for AIGC to improve content production efficiency, reduce costs, and fully empower the IP ecosystem through large-scale model technology. However, in practice, the commercialization path of large models is extremely difficult. On the one hand, the running cost of large models is high, and the hardware investment and training costs are astronomical. On the other hand, the commercialization of large-scale model products also faces many problems, such as how to deeply integrate with industry scenarios and how to avoid homogeneous content.

For creators, although AI-assisted creation can bring certain convenience, it may also lead to the homogenization and mechanization of the creative process. Creators are worried that under the influence of large models, their works will lose their unique style and soul and become the same. And for readers, they are also eager to see more innovative and personalized works, rather than assembly line products that are bound by AI algorithms.

To sum up, although China Literature's exploration on the road of large-scale models is full of hope and opportunities, it is also facing many challenges and dilemmas. In today's rapid development of AI technology, China Literature needs to consider more carefully how to balance the relationship between technological innovation and commercialization, and how to maintain its core competitiveness in the wave of large models. Only in this way can China Literature go further and more steadily in its future development.

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