婴儿什么时候可以睡枕头

百度 这个别扭的姿势非常不舒服，也有几位采访对象表示，不到万不得已，自己在外面尽量不办大事。

OSAKA, Japan, May 12 (Xinhua) -- "Translating Chinese web novels has become my favorite way to unwind as it brings me a sense of fulfillment," said Hikaru Takeuchi, a Japanese screenwriter and director who has become an unlikely ambassador for Chinese online fiction.

Takeuchi is an avid fan of the Chinese web novel Apocalyptic Forecast, a fantasy fiction about a disillusioned young man who gains mysterious powers and is drawn into a hidden world of supernatural conflict and secret societies.

Although she studied classical Chinese literature in school, she had little exposure to the online genre. That changed when work introduced her to Apocalyptic Forecast, which, in her words, "opened up a whole new world."

She was especially struck by the multidimensional characters and the emotional complexity of the protagonist, whose joy and struggles resonated with her.

When the novel ended, Takeuchi felt compelled to write a letter to its author, Feng Yue. The cross-border fan mail became a symbolic bridge between cultures. Speaking with Xinhua in a recent interview, she expressed her hope of introducing more Japanese readers to the rich and emotional world of Chinese web literature.

Now Takeuchi is not just a fan, but also a translator and grassroots promoter of Chinese web literature. Over the past three years, the 50-something creative has translated more than 200 chapters of Apocalyptic Forecast into Japanese and shared them with friends.

As Chinese online literature expands abroad, a growing number of overseas readers are becoming not just consumers, but translators, creators, and even co-developers of new intellectual properties.

She is now planning to participate in the "Fiction Formula" contest -- a joint initiative by WebNovel, a platform under China's Yuewen Group, and Japan's CCC Group, which owns the Tsutaya bookstore chain, to try her hand at original writing.

"Japan still relies heavily on cash payments, but through Chinese novels, I've learned about mobile payments and everyday life in Chinese high schools. It's fascinating," Takeuchi said.

For many Japanese readers, Chinese online literature offers a blend of novelty and relatability, a fresh yet accessible lens into contemporary Chinese society.

The success of Apocalyptic Forecast in Japan is far from isolated. Other Chinese web novels, including Joy of Life, The King's Avatar, and Battle Through the Heavens, have also gained loyal followings through localized publishing, anime adaptations, and manga spin-offs.

The King's Avatar has been downloaded over 30 million times in Japanese, and its animated film was screened in nine countries and regions, including Japan, the Philippines, and Singapore. Its manga version has received nearly 8 million likes on the Piccoma platform.

Takeuchi also praised the anime adaptation of Dragon Raja, a Chinese fantasy novel by Jiang Nan, calling it high-quality and widely loved in Japan. She believes that as more Chinese novels evolve into anime, films, and comics, their cultural influence in Japan will deepen.

According to Yuewen Group, by the end of 2024, its international platform WebNovel had launched around 6,800 translated works, supported 460,000 overseas authors, and released roughly 700,000 original stories globally.

With nearly 300 million users across over 200 countries and regions, the platform is quickly becoming a dominant player in global online storytelling. The Japanese market stands out, with a 180-percent user surge in 2024 alone, ranking among the top five growth markets alongside Spain, Brazil, France, and Germany.

Shinichiro Kamaura, executive director of CCC Group, voiced optimism about building a new cross-cultural IP ecosystem in partnership with Chinese firms. He emphasized the potential of blending cultural elements and shared values to inspire a new generation of Japanese creators.

Yuewen Group CEO and President Hou Xiaonan added that web fiction, now a leading force in China's "new cultural exports," is entering a new phase of global co-creation.

In Japan, he noted that traditional Chinese cultural themes, such as the Three Kingdoms, already provide common ground. To truly succeed abroad, he said, Chinese stories must be localized -- not just translated -- in ways that resonate with new audiences.