Ved Vyasa is believed to be the composer of Adhyatma Ramayana. There is no clear history of authorship or date. Some modern scholars guess Saint Ramananda of the 14th century to be its author. Based on the language and trend of thought It appears to be later than the Shrimad Bhagwatam, perhaps in the 14th century.

Adhyatma Ramayana is part of Brahmanda Purana. Since Vyasa is believed to have composed all puranas, he is also believed to have authored Adhyatma Ramayana.

Adhyatma Ramayana in the form of a conversation between Mahadeva and Parvati. It starts with a deep question by Parvati. She asks Mahadeva, if Bhagwan Rama had knowledge of his own self as the divine, why did he have normal feelings of grief when he was separated from Sita. On the other hand, if he did not have knowledge of self, he is on par with other ignorant creatures. How is he then fit for being worshipped? The Adhyatma Ramayana is the ensuing conversation between Mahadeva and Parvati. The conversation is reported by Brahma to Narada.
Reference: Adhyatma Ramayana by Swami Tapasyananda

Mahadeva tells Devi that Rama is the supreme self, distinct from Prakriti. He is the all comprehending being who is pure bliss itself and the spirit supreme over all entities. He projected all this universe by his Maya-Shakti. He is within and without the universe like the Sky. Maya the power of ignorance itself is dependent on Bhagwan Rama. Therefore, it cannot cause ignorance or infatuation in him.
Establishing Bhagwan Ram’s divine status as an object of worship and devotion is the prime object of Adhyatma Ramayana.
Reference: Adhyatma Ramayana by Swami Tapasyananda

In Adhyatma Ramayana, Rama is the Brahman. This is explained in the conversation between Shiva and Parvati; and between Sita and Hanuman. Shiva tells Parvati that Rama, the noblest of Raghus is the condensation of pure consciousness. Sita tells Hanuman that Rama is the supreme Brahman, the existence-knowledge-bliss absolute and the one without a second. He is pure existence devoid of all adjuncts.
The process of realization by the Jiva starts with meditation upon God, initially in an embodied form with attributes. In Adhyatma Ramayana, the form is Rama with Sita, Lakshmana and Hanuman.
Reference: Adhyatma Ramayana by Rai Bahadur Lala Baij Nath, Adhyatma Ramayana by Swami Tapasyananda

Adhyatma Ramayana had a powerful influence on many regional language Ramayanas that were composed afterwards. The spiritual turn given in Adhyatma Ramayana greatly influenced Tulsidas’ Ramcharitmanas. It does not seem to have influenced Kamban. Ezhutachan’s Ramayana is considered a close translation. It has similar poetical and devotional excellence. Our quizzes will be based on the English translation of Ezhutachan’s work by Dr Sukumar Canada.
Reference: Adhyatma Ramayana by Swami Tapasyananda

After Lakshmana goes into the forest to collect roots and fruits, Rama tell Sita that he is going to play a human part henceforth. He asks Sita to enter the fire and remain there till he completes the destruction of Rakshasas. Sita immediately enters the fire leaving behind an image of herself. Even Lakshmana could not tell the difference. After the war, when Sita enters the fire, it is the illusory Sita and the real Sita comes out of the ordeal.
There are many such deviations to explain incidents that don't match with the divine nature of Rama, as opposed to the human avatar of Rama in Valmiki Ramayana.

Thunchat Ezhutachan is a 16th CE Malayalam poet. He marked the start of Malayalam’s own style and form. Till then the poetic style in Kerala depended on manipravala of Sanskrit or Pattu of Tamil. Ezhutachan gave the people of Kerala a literary genre acceptable to all. Ezhutachan is not his real name and it means “father of letters” indicating his status. We don’t know his real name.
The poetic form of Kilippattu was a creation of Ezhutachan and it means Parrot’s song. He composed stories as being told by a parrot. The metres used by Ezhutachan have intrinsic musical quality and are developed from folk songs. He combined Sanskrit and Malayalam words with clarity, sweetness and serenity, without ornamentation. The form of Kilippattu became popular and many latter poets adopted it.
Source: Encyclopedia of Indian Literature, Amaresh Datta