The Paper Marks 12 Years of Digital Journalism in China

SHANGHAI — On July 22, 2026, The Paper (澎湃新闻), one of China’s most influential digital news platforms, celebrated its 12th anniversary with a reflective feature titled “Riding the Waves, Carving Riverbeds for Every Ripple.” The milestone marks more than a birthday for the Shanghai-based outlet — it represents a landmark in China’s ongoing experiment with digital-first journalism.

A Pioneer Born from Print

The Paper was launched on July 22, 2014, by the state-owned Shanghai United Media Group as a digital transformation of the Oriental Morning Post (东方早报), a Shanghai-based newspaper founded in 2003. The Oriental Morning Post ceased print publication on January 1, 2017, with all its news functions transferring to The Paper.

It was one of the first major Chinese media organizations to make a complete transition from print to digital, serving as a model for other state-owned outlets navigating the collapse of print advertising revenue in the early 2010s. Headquartered at 839 Yan’an West Road in Shanghai’s Jing’an District, The Paper was designed to appeal to younger, mobile-first audiences while maintaining alignment with the Chinese Communist Party’s political line.

Initial funding for the venture was substantial — estimated between US$16 million and $64 million — including RMB 100 million (approximately $14.5 million) provided by the Chinese government through the Cyberspace Administration of China. In December 2016, six state-owned firms invested a further 610 million yuan in The Paper’s operator, Shanghai Oriental Newspaper Industry Company Limited, though Shanghai United Media Group retained 82.2% ownership and ultimate control.

A Decade of Impactful Reporting

Despite being state-owned, The Paper was initially given relatively greater editorial leeway than comparable Chinese media organizations. On its very first day of operation, it published an investigation into judicial misconduct in Anhui province that prompted the High People’s Court to reopen a case. It has since built a reputation for investigative reporting on corruption and social issues, including a series on former senior official Ling Jihua.

The Paper’s reporting has also directly influenced government policy. In November 2017, an investigation into childhood leukemia drug shortages prompted then-Premier Li Keqiang to issue directives for increased domestic drug production.

In May 2016, The Paper expanded its reach by launching Sixth Tone, an English-language sister publication aimed at international audiences.

Anniversary Celebrations and Cultural Capital

The 12th anniversary feature, published under The Paper’s “Sea Level” (海平面) studio, carries the theme “十二启辰，澎湃向新” (“12th Dawn, Surging Toward New Horizons”). The feature’s poetic title — “Riding the Waves, Carving Riverbeds for Every Ripple” — reflects the publication’s commitment to quality journalism in an era of algorithm-driven content.

The milestone drew video messages from prominent Chinese cultural figures, including Feng Yuanzheng, president of the Beijing People’s Art Theatre, and actors Mei Ting, Chen Shu, Zhang Linghe, Cao Lei, and Huang Xiaoming — a testament to The Paper’s cultural standing.

User comments on the anniversary article reflected strong loyalty. One reader, identified as “Hanjiang Rain,” wrote: “In an era of algorithm frenzy, still willing to carve riverbeds for every ripple — this vision deserves respect.” Another commented: “Twelve years, and The Paper is still seriously doing journalism, respect!”

Navigating Challenges

The anniversary comes at a time of significant flux in Chinese digital media. In February 2025, The Paper underwent a major restructuring, consolidating 13 editing centers into 6 and terminating 20 news service sections along with 15 social media profiles — a reflection of the economic pressures facing digital journalism in China’s competitive online news landscape.

As noted in a commemorative video published by QQ News by the account “Transforming Media People,” many of the young journalists who joined The Paper at its launch “with thin faces but proud” have since moved on to other fields, while others have remained. “In the blink of an eye, 12 years have passed. Some continue to cultivate and persevere, some choose cross-border growth, but the surging inside remains as yesterday,” the tribute observed.

The Paper’s anniversary feature itself struck a forward-looking tone. “Riding the waves, carving riverbeds for every ripple — The Paper, doing good journalism,” the publication wrote. “Twelve years of climbing with determination, surging at the forefront. May every day ahead be even more surging.”

Analysis: A Unique Position in Chinese Media

Scholars have described The Paper as an experiment in allowing “relative autonomy” to foster a media brand popular with younger users that still follows the party line. This balancing act has defined its 12-year journey. The Paper has carved out a niche as a serious journalism brand — its slogan “专注时政与思想” (Focus on Current Affairs and Ideas) reflects this positioning — while operating within the boundaries of China’s state-controlled media system.

The involvement of prominent cultural figures in the anniversary celebrations underscores The Paper’s role as a platform that bridges journalism and the arts in China. From Feng Yuanzheng of the Beijing People’s Art Theatre to film and television stars, the breadth of well-wishers demonstrates the publication’s cultural capital.

What’s Next

The Paper’s 12-year survival and continued investment in original reporting positions it as a significant player in China’s evolving news ecosystem. As competition intensifies from algorithm-driven platforms like Douyin and WeChat, and as AI-generated content reshapes the media landscape, The Paper’s commitment to its founding mission faces its most critical test yet.

Questions remain about the publication’s financial sustainability and the long-term impact of its 2025 restructuring on reporting capacity. The “12th Dawn” theme, however, suggests the publication is looking forward, not back, as it enters its second decade — still carving riverbeds for every ripple.