A new wave of mass culture — online literature, games and micro-dramas — stole the limelight at the World Internet Conference early this month. Dubbed the “new trio”, these digital-age creations are humming a distinctly modern tune. They are not just a new vehicle for taking Chinese culture abroad but architects of a new cultural ecosystem that links China with the world.
Much like the “new trio” in goods trade — electric vehicles, lithium batteries and photovoltaic products — has replaced traditional items such as clothing, home appliances and furniture to become new pillars of China’s exports, this cultural trio have edged past the familiar symbols of dumplings, tai chi and the Chinese language. Their emergence marks a new chapter in the spread of Chinese culture in the world.
Of course, dumplings and tai chi, as established symbols of an ancient civilization, will continue to showcase Chinese culture in a pastoral manner. But these new cultural forms powered by technology are presenting a new image of China to the world, and audiences are paying attention.
This new trio are products of the internet era. Online literature is an expression of storytelling in the digital age. By the end of 2024, China had more than 30 million online literature authors, including students, teachers, factory workers and office goers. Their stories draw heavily from lived experiences, making them resonate with readers worldwide.
Unlike the traditional linear narratives, online literature follows a hypertext structure. Stories unfold through multiple hyperlinks instead of following a fixed pattern, allowing readers to choose the direction of the plot according to their preferences. This interactivity, built on digital innovation, has gained increasing popularity among global readers.
By the end of 2024, the total number of Chinese online literary works has exceeded 33 million, with an annual increase of 2 million works, according to a China Writers Association report.
One reason for the phenomenal success of online literature overseas is that AI-powered translation has cut export costs by 90 percent. In fact, breaking the temporal and spatial constraints of traditional cultural exchange through digital and networked forms is the common thread that ties the success of the new trio.
Black Myth: Wukong, the first Chinese 3A game, uses advanced graphic technologies to build a mythical universe with cutting-edge visual effects. The detailed craftsmanship has greatly enhanced the product’s appeal across the world.
Tencent, China’s leading game company, saw its overseas revenue rise to more than 20 billion yuan ($2.8 billion) for the first time in the third quarter of 2025, a year-on-year increase of 43 percent. NetEase Games, the second-largest game company in China, has added over 300 million new overseas users in the past three years.
According to the Ministry of Commerce, digital elements accounted for 26 percent of the total 1.4 trillion yuan cultural trade by China in 2024. Although this may not appear particularly impressive, the growth rate of digital trade is much higher than that of traditional trade.
In the first half of this year, the overseas revenue of games developed in China increased by over 11 percent year-on-year, outpacing the global market. China also accounts for over 80 percent of the $15 billion global micro-drama market, with over 300 overseas applications and global downloads exceeding 470 million.
This massive landing overseas has not only broadened China’s export categories but also marked a breakthrough in the spread of Chinese culture across the globe. In the past, dumplings and tai chi used to attract enthusiasts in Chinese culture. The new trio is reaching out to a much broader audience of ordinary people and integrating into their daily cultural consumption.
Traditional culture, often produced by an elite of professional writers and artists, alongside publishing houses and other agents, has a very long production cycle. The new mass culture is built on a chain of co-creation and instant dissemination, allowing global users to not only consume culture but also participate in its creation at a virtual cultural site.
Traditional production and dissemination of culture will remain the mainstream of cross-cultural communication. However, the new mass culture is helping build a more open, diverse and equitable global cultural landscape.
The author is chief researcher at the China Watch Institute, China Daily.
The views don’t necessarily reflect those of China Daily.
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