BEIJING, June 6, 2025 /PRNewswire/ — In recent years, a new wave of Chinese cultural products, represented by games, short dramas, and online literature, has captivated millions overseas.
Data underscores this rise. In 2024, Chinese independently developed games generated $18.57 billion in overseas sales. Chinese micro-short drama companies have launched over 300 apps overseas, amassing more than 470 million downloads across over 200 countries and regions, while a top Chinese platform for online literature exports attracted nearly 300 million users from abroad.
More importantly, this global spread of culture has evolved from “one-way exports” to “co-creation.” In this “Cultural Voyages” series, the Global Times will talk to cultural consumers, creators, and practitioners from both China and abroad to see how Chinese cultural products are changing people’s lives.
In the quiet corners of Scotland, a 19-year-old college student named Antechao (pseudonym) stumbled upon Chinese web novels – a discovery that opened a new world of literature and culture.
It was five years ago when Antechao first encountered Chinese web novels through a Reddit thread.
“My first Chinese web novel that I remember the most about would be Emperor’s Domination,” Antechao recalled.
“My impression of it was ‘Wow!'” he told the Global Times.
“It was an entirely different reading experience that I had never had before and it was a bit overwhelming at first, but I did get engrossed the more I read.”
His journey reflects a global wave, where millions of readers in more than 200 countries and regions are embracing China’s online literature amid a phenomenon that is transcending borders and redefining storytelling.
Literary powerhouse
China’s online novels have evolved from a niche pastime into a cultural and economic powerhouse. By the end of 2024, the scale of China’s online literature reading market had reached 43.06 billion yuan ($5.99 billion), up 6.8 percent year on year, according to a research report released by the Chinese Academy of Social Sciences (CASS).
The year 2024 also witnessed the release of a number of online literary works featuring realistic themes and fine traditional Chinese culture, which are dynamic vehicles for promoting mainstream values and spurring cultural innovation, the Report on the Development of Chinese Online Literature said.
In 2024, market revenue generated by online literature adaptations reached 298.56 billion yuan, forming a synergy with short-format dramas, games, and other forms of content on various user platforms, the report revealed.
Ding Guoqi, director of the Literary Institute at the CASS attributes this success to a “content + industry” model.
“IP adaptations have become the core path to cross-industry monetization,” he noted.
With over 30 million authors crafting 41.651 million works for 575 million users – more than half of China’s netizens – the industry embodies a “nationwide participation” creative landscape.
This economic might is matched by a cultural resonance, as readers like Antechao discover a treasure trove of Chinese traditions within these novels.
For readers like Antechao, however, the diversity is a draw. “There’s a lot to draw on and many different interesting things from Chinese culture that can make a very compelling and interesting novel,” he noted, highlighting the appeal of cultivation narratives and unique power systems.
Bridging civilizations
The global reach of Chinese online literature is undeniable, with 808,440 exported works and 352 million users across more than 200 countries and regions in 2024. A milestone in this expansion was the British Library’s inclusion of these novels, which were displayed alongside classics like the Diamond Sutra. In November 2024, it added 10 online novels by Chinese authors, including Lord of the Mysteries, Soul Land and The Joy of Life. This library first added a Chinese online literature work to its collection in 2022.
Ding sees this as embodying “mutual learning between civilizations,” where storytelling disseminates Chinese culture while absorbing global influences.
“Through ‘cultural translation,’ online literature promotes mutual understanding across civilizations,” he said, citing elements like traditional architecture and intangible cultural heritage that captivate overseas readers.
For Antechao, this cultural exchange has been personal.
“I’ve seen elements like Taoism, Buddhism, and Confucianism,” he said.
“Taoism comes up very often in my reading as it’s realistically the end goal of everything – to follow your own path.”
He also finds traditional Chinese medicine fascinating for its “broad and cool applications,” deepening his appreciation of Chinese culture. Yet, Ding cautions that full mainstream recognition remains elusive, driven more by popularity than traditional elite systems.
“Much more work needs to be done. For the industry, establishing a dynamic evaluation system for the overseas expansion of Chinese online literature can help us timely understand the effectiveness and existing problems of such an expansion, so as to adjust strategies and promote its better development,” adds Ding.
To resonate globally, Chinese online literature must balance its distinct “Chinese feature” with universal appeal. Ding advocates for integrating traditional elements – represented by the guochao (Chinese-style trend) with modern expression and AI translation.
This cultural exchange isn’t just for readers. It’s inspiring creators worldwide, like Russian author Barisbi Alborov, known by his pen name Guiltythree, whose novel Shadow Slave has amassed over 50 million views. Inspired by Chinese works like Super Gene, Alborov blends Eastern fantasy with his own cultural perspective.
This influence has shaped his own work.
“I wanted Shadow Slave to be a lot more like Super Gene,” he admitted. “But my own imagination and cultural background took control and led the story in a unique direction.”
Alborov’s pen name, a playful choice after finding the names “Guiltyone” and “Guiltytwo” taken, reflects his lighthearted approach, though his work is serious business. Transitioning from game writing to web novels, he found freedom on the WebNovel platform.
“I believed that I could write a good story, and I liked the idea that its success or failure would be solely my responsibility,” he said.
In his eyes, the language of stories is universal, and people in any part of the world can enjoy a good story equally. It is a unifying force. At the same time, the cultural heritage and personal imagination of authors enrich their stories with unique and distinct flavors, which makes reading such works a varied and pleasurable experience.
In his case, China’s online literature changed him, firstly as a reader, and then as a writer.
“I spent a blissful year reading wonderful web novels, from Release That Witch, The Legendary Mechanic to Supreme Magus and so on,” the Russian gamer and narrative designer recalled.
“These stories reignited my love for reading,” he noted. After a while, he decided to “try writing a web novel of my own.”
His dystopian tale, infused with Eastern influences, shows how Chinese literature has inspired global creators.
“I’ve been to China twice, and both trips were wonderful and unforgettable experiences for me as I could enjoy China’s rich history and amazing culture just like how I was inspired by novels,” he said.
Voices of a global community
The industry now boasts 449,000 overseas authors, many of them Gen Z creators like Alborov, who enrich its narrative tapestry.
“Overseas Gen Z creators bring new creative perspectives,” Ding observed, noting their ability to blend local myths with Chinese elements. Alborov’s routine – two chapters daily, fueled by reader interaction – illustrates this engagement.
“I feel a responsibility both to my readers and to my story,” he said, noting that he has connected with a cosmopolitan audience, from researchers to families.
“I even talked to a person who was reading Shadow Slave in Antarctica once, which was pretty amazing.”
Antechao, too, reflects this global readership.
“It’s made me more open-minded regarding different cultures and my outlook on things,” he said, noting that he is considering learning Chinese. His advice to new readers – “be open-minded and not have any bias” – mirrors the cultural learning curve these novels demand.
When reading these novels, he encountered different philosophies, which found very interesting as they presented other views.
“I can consider and use these to further develop my own thoughts, ideas and values. It helps me learn and consider things I might not have before.”
The story of Japanese screenwriter and director Hikaru Takeuchi is a little different from other readers-turned-writers.
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 online works. That changed when her work introduced her to Apocalyptic Forecast, which, in her words, “opened up a whole new world,” according to a Xinhua News Agency report.
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. This cross-border fan mail became a symbolic bridge between cultures.
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.
Challenges and innovations
Rapid growth brings challenges. The 20-fold increase in AI-translated works on Chinese online literature platforms in 2024 has sparked concerns about “diminishing literary style.”
“We should leverage technologies such as AI translation to make works more accessible to overseas readers, thus spreading Chinese stories and Chinese culture worldwide,” said Ding, who also recommends optimizing human-machine collaboration, with translators refining AI output, and establishing industry standards to maintain quality.
Alborov, meanwhile, thrives on immediacy, publishing fresh chapters daily despite the difficulty involved. “I can’t create a stockpile to save my life,” he said, noting that he relies on readers’ support to sustain his pace.
Consistency is definitely difficult to maintain. Writing daily requires a lot of discipline and willpower, while maintaining sufficient quality demands talent and dedication.
“What helps me the most is the thought that I am writing for actual people, who expect to read new chapters of Shadow Slave each day,” he added.
Ding also envisions a “dynamic evaluation system” to assess the impact of web novels overseas and tailor stories for Gen Z.
“We should create more contemporary and youthful works closely aligned with Gen Z lifestyles,” he urged, noting that it will be important to leverage platforms like social media for promotion.
Collaborations signal a bright future. The report shows there was a 180 percent rise in online literature readers in Japan in 2024 alone, ranking the country among the top five growth markets alongside Spain, Brazil, France, and Germany.
“Japan’s growth may stem from a foundation of accepting Chinese culture,” Ding noted, adding that he sees potential in localized development. The online novel platform WebNovel also unveiled its plan to work with Japanese bookstores to provide localized content for Japanese readers.
Inspired by his Chinese online literature experiences, Alborov said he hopes to visit China again, while Antechao ponders learning Chinese, hinting at deepening ties.
In this global tapestry, China’s online novels weave together diverse voices. Ding, Alborov, and Antechao illuminate a phenomenon that transcends storytelling, fostering cultural exchange and understanding. As Ding put it, “Online literature has played a vital role in spreading Chinese culture and enhancing national cultural soft power.” For readers and writers alike, it’s a journey of discovery – one chapter at a time.
