Wakuku is the most talked-about newcomer in China’s trend toy market. Besides its mischievous grin, what’s perhaps most noteworthy is how closely Wakuku follows the marketing success of Labubu. As the strongest new designer toy of 2025, Wakuku says a lot about China’s current creative economy — from youth-led consumer trends to hybrid business models.

As it is becoming increasingly clear that Chinese designer toy Labubu has basically conquered the world, it’s already time for the next made-in-China collectible toy to start trending on Chinese social media.

Now, the name that’s trending is Wakuku, a Chinese trend toy created by the Shenzhen-based company Letsvan.

In March 2025, a new panda-inspired Wakuku debuted at Miniso Land in Beijing, immediately breaking records and boosting overall store revenue by over 90%. Wakuku also broke daily sales records on May 17 with the launch of its “Fox-and-Bunny” collab at Miniso flagship stores in Shanghai and Nanjing. At the opening of the Miniso Space in Nanjing on June 18, another Wakuku figure sold out within just two hours. Over the past week, Wakuku went trending on Chinese social media multiple times.

From left to right: the March, May, and June successful Wakuku series/figurines

Like Labubu, Wakuku is a collectible keychain doll with a soft vinyl face and a plush body. These designer toys are especially popular among Chinese Gen Z female consumers, who use them as fashion accessories (hanging them from bags) or as desk companions.

We previously wrote in depth about the birth of Labubu, its launch by the Chinese POP MART (founded 2010), and the recipe for its global popularity in this article, so if you’re new to this trend of Chinese designer toys, you’ll want to check it out first (link).

Labubu has been making international headlines for months now, with the hype reaching a new peak when a human-sized Labubu sold for a record 1.08 million RMB (US$150,700), followed by a special edition that was purchased for nearly 760,000 RMB (US$106,000).

Now, Wakuku is the new kid on the block, and while it took Labubu nine years to win over young Chinese consumers, it barely took Wakuku a year — the character was created in 2022–2023, made its retail debut in 2024, and went viral within months.
Its pricing is affordable (59–159 RMB, around $8.2-$22) and some netizens argue it’s more quality for money.

While Labubu is a Nordic forest elf, Wakuku is a tribal jungle warrior. It comes in various designs and colors depending on the series and is sold in blind boxes (盲盒), meaning buyers don’t know exactly which design they’re getting — which adds an element of surprise.

➡️ There’s a lot to say about Wakuku, but perhaps the most noteworthy aspect is how closely it mirrors the trajectory of POP MART’s Labubu.

Wakuku’s recent success in China highlights the growing appeal and rapid rise of Chinese IPs (beyond its legal “intellectual property” meaning, ‘IPs’ is used to refer to unique cultural brands, characters, or stories that can be developed into collectibles, merchandise, and broader pop culture phenomena).

Although many critics predict that the Labubu trend will blow over soon, the popularity of Wakuku and other Labubu-like newcomers shows that these toys are not just a fleeting craze, but a cultural phenomenon that reflects the mindset of young Chinese consumers, China’s cross-industry business dynamics, and the global rise of a new kind of ‘C-pop.’

Wakuku: A Cheeky Jungle Copycat

When I say that Wakuku follows POP MART’s path almost exactly, I’m not exaggerating. Wakuku may be portrayed as a wild jungle child, but it’s definitely also a copycat.

It uses the same materials as Labubu (soft vinyl + plush), the name follows the same ABB format (Labubu, Wakuku, and the panda-themed Wakuku Pangdada), and the character story is built on a similar fantasy universe.

In fact, Letsvan’s very existence is tied to POP MART’s rise — the company was only founded in 2020, the same year POP MART, then already a decade old, went public on the Hong Kong Stock Exchange and became a dominant industry force.

In terms of marketing, Wakuku imitates POP MART’s strategy: blind boxes, well-timed viral drops, limited-edition tactics, and immersive retail environments.

It even follows a similar international expansion model as POP MART, turning Thailand into its first stop (出海首站) — not just because of its cultural proximity and flourishing Gen Z social media market, but also because Thailand was one of the first and most successful foreign markets for Labubu.

Its success is also deeply linked to celebrity endorsement. Just as Labubu gained global traction with icons like BLACKPINK’s Lisa and Rihanna seen holding the doll, Wakuku too leans heavily on celebrity visibility and entertainment culture.

Like Labubu, Wakuku even launched its own Wakuku theme song.

Since 2024, Letsvan has partnered with Yuehua Entertainment (乐华娱乐) — one of China’s leading talent agencies — to tap into its entertainment resources and celebrity network, powering the Wakuku marketing engine. Since stars like Esther Yu (虞书欣) were spotted wearing Wakuku as a jeans hanger, demand for the doll skyrocketed. Yuehua’s founder, Du Hua (杜华), even gifted a Wakuku to David Beckham as part of its celebrity strategy.

From Beckham to Esther Yu; celebrity endorsements play a big role in the viral marketing of Wakuku.

But what’s most important in Wakuku’s success — and how it builds on Labubu — is that it fully embraces the ugly-cute (丑萌 chǒu méng) aesthetic. Wakuku has a mischievous smile, expressive eyes, a slightly crooked face, a unibrow, and freckles — fitting perfectly with what many young Chinese consumers love: expressive, anti-perfectionist characters (反精致).

“Ugly-Cute” as an Aesthetic Rebellion

Letsvan is clearly riding the wave of “ugly trend toys” (丑萌潮玩) that POP MART spent years cultivating.

🔍 Why are Chinese youth so obsessed with things that look quirky or ugly?

A recent article by the Beijing Science Center (北京科学中心) highlights how “ugly-cute” toys like Labubu and Wakuku deviate from traditional Chinese aesthetics, and reflect a deeper generational pushback against perfection and societal expectations.

The pressure young people face — in education, at work, from family expectations, and information overload — is a red thread running through how China’s Gen Z behaves as a social media user and consumer (also see the last newsletter on nostalgia core).

To cope with daily stress, many turn to softer forms of resistance, such as the “lying flat” movement or the sluggish “rat lifestyle” in which people reject societal pressures to succeed, choosing instead to do the bare minimum and live simply.

This generational pushback also extends to traditional norms around marriage, gender roles, and ideals of beauty. Designer toys like Labubu and Wakuku are quirky, asymmetrical, gender-fluid, rebellious, and reflect a broader cultural shift: a playful rejection of conformity and a celebration of personal expression, authenticity, and self-acceptance.

Another popular designer toy is Crybaby, designed by Thai designer Molly, and described as follows: “Crybaby is not a boy or a girl, it is not even just human, it represents an emotion that comes from deep within. It can be anything and everything! Laughter isn’t the only way to make you feel better, crying can be healing too. If one day, a smile can’t alleviate your problems, baby, let’s cry together.”

But this isn’t just about rejecting tradition. It’s also about seeking happiness, comfort, and surprise: emotional value. And it’s usually not brand-focused but influencer-led. What matters is the story around it and who recommends it (unless the brand becomes the influencer itself — which is what’s ultimately happening with POP MART).

One of the unofficial ambassadors of the chǒu méng ugly-cute trend is Quan Hongchan (全红婵), the teenage diving champion and Olympic gold medallist from Guangdong. Quan is beloved not just for her talent, but also for her playful, down-to-earth personality.

During the Paris Olympics, she went viral for her backpack, which was overflowing with stuffed animals (some joked she was “carrying a zoo on her back”) — and for her animal-themed slippers, including a pair of ugly fish ones.

Quan Hongchan with her Wakuku, and her backpack and slippers during her Paris Olympics days.

It’s no surprise that Quan Hongchan is now also among the celebrities boosting the popularity of the quirky Wakuku.

From Factory to Fandom: A New Kind of “C-pop” in the Making

The success of Wakuku and other similar toys shows that they’re much more than Labubu 2.0; they’re all part of a broader trend tapping into the tastes and values of Chinese youth — which also speaks to a global audience.

And this trend is serious business. POP MART is one of the world’s fastest-growing consumer brands, with a current market value of approximately $43 billion, according to Morgan Stanley.

No wonder everyone wants a piece of the ‘Labubu pie,’ from small vendors to major companies.

It’s not just the resellers of authentic Labubu dolls who are profiting from the trend — so are the sellers of ‘Lafufu,’ a nickname for counterfeit Labubu dolls, that have become ubiquitous on e-commerce platforms and in toy markets (quite literally).

Wakuku’s rapid rise is also a story of calculated imitation. In this case, copying isn’t seen as a flaw but as smart market participation.

The founding team behind Letsvan already had a decade of experience in product design before setting out on their journey to become a major player in China’s popular designer toy and character merchandise market.

But their real breakthrough came in early 2025, when QuantaSing (量子之歌), a leading adult learning ed-tech company with no previous ties to toys, acquired a 61% stake in the company.

With QuantaSing’s financial backing, Yuehua Entertainment’s marketing power, and Miniso’s distribution reach, Wakuku took it to the next level.

The speed and precision with which Letsvan, QuantaSing, and Wakuku moved to monetize a subcultural trend — even before it fully peaked — shows just how advanced China’s trend toy industry has become.

This is no longer just about cute (or ugly-cute) designs; it’s about strategic ecosystems by ‘IP factories,’ from concept and design to manufacturing and distribution, blind-box scarcity tactics, immersive store experiences, and influencer-led viral campaigns — all part of a roadmap that POP MART refined and is now adopted by many others finding their way into this lucrative market. Their success is powered by the strength of China’s industrial & digital infrastructure, along with cross-industry collaboration.

The rise of Chinese designer toy companies reminds of the playbook of K-pop entertainment companies — with tight control over IP creation, strong visual branding, carefully engineered virality, and a deep understanding of fandom culture. (For more on this, see my earlier explanation of the K-pop success formula.)

If K-pop’s global impact is any indication, China’s designer toy IPs are only beginning to show their potential. The ecosystems forming around these products — from factory to fandom — signal that Labubu and Wakuku are just the first wave of a much larger movement.

– By Manya Koetse

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“This man is doing God’s work. In just six hours, he eliminated all Western media propaganda about China,” Chinese influencer Li Sanjin (李三金) said in one of his videos this week. The man he referred to, allegedly doing ‘God’s work,’ is the American YouTuber and online streamer Darren Watkins, better known as IShowSpeed or Speed, who visited China this week and livestreamed from various locations.

With 37 million followers on his YouTube account, Watkins’ visit hasn’t exactly flown under the radar. His streams from China have already accumulated over 17.5 million views on YouTube alone, and he also became the talk of the week on Chinese social media.

In China, the 20-year-old IShowSpeed is known as Jiǎkànggē (甲亢哥), or “Hyper Bro,” since the immensely popular YouTube star is known for being highly energetic.

Although IShowSpeed is originally known for soccer and gaming-related content, he’s been streaming live from various countries over the past year, from Ecuador to Bolivia, from Australia to Indonesia, from Romania to Japan, and also from the Netherlands, where a mob of fans harassed the YouTuber to such an extent that the influencer fled and panicked, until the police intervened and asked him to shut down the livestream for safety reasons — which he did not comply with.

It was not the only time IShowSpeed’s visit got chaotic. He also got into trouble during livestreams from other countries. While streaming from Norway, he injured his ankle and was swarmed by a crowd while trying to get out. In Greece and Indonesia, he had to ask for police support as well. In Thailand, he crashed a tuk-tuk into a temple wall.

In China, IShowSpeed’s livestreams went far more smoothly, and netizens, state media, and other official channels raved about his visit and its favorable portrayal of the country and its culture.

 
🔹 Symbol of Cultural Exchange & Positive Diplomacy
 

“Jiǎkànggē” became one of the viral terms of the week, on Weibo, Kuaishou, Douyin, and Toutiao. During his China trip, the livestreamer hit several YouTube milestones — not only breaking the 37 million subscriber mark while on stream, but also surpassing the magic number of 10 million views in total.

Watkins, also known for being (sometimes aggressively) loud and chaotic, suddenly emerged as a symbol of cultural exchange and positive diplomacy. The past week saw hashtags such as:

#️⃣”IShowSpeed gives young foreigners a full-window view into China” (#甲亢哥给国外年轻人开了全景天窗#)
#️⃣”IShowSpeed’s Shanghai livestream breaks Western filter on China” (#甲亢哥上海直播打破西方对中国滤镜#)
#️⃣”American influencer IShowSpeed amazed by stable wifi on China’s high-speed train” (#美国网红甲亢哥被高铁稳定网络震惊#)
#️⃣”IShowSpeed praised deep tried tripe for being incredibly delicious” (#甲亢哥赞爆肚太好吃了#), or
#️⃣ “IShowSpeed bridges the cultural divide” (#甲亢哥弥合文化鸿沟#).

While in Chinese media, Watkins was lauded for shining a positive light on China, this message was also promoted on English-language social media, where he was praised by the Chinese embassy in the US (#驻美大使馆称赞甲亢哥中国行#), writing:

Post by Chinese Embassy in the US on X, March 26.

“This 20-year-old American internet star is bridging cultural gaps through digital means and creating new channels for foreign audiences to better understand China.”

So what exactly did IShowSpeed do while in China?

On March 24, Watkins livestreamed from Shanghai. He wandered around the city center, visited a KFC, danced with fellow streamers, stopped by a marriage market, ate noodles, played ping-pong, had hotpot, joined a dragon dance group and got acquainted with some traditional Chinese opera performance, and walked along the Bund.

On March 26, he streamed from Beijing, starting in Donghuamen before briefly entering the Forbidden City—dressed in a Dongbei-style floral suit. He later took a stroll around Nanluoguxiang and the scenic Houhai lake, rode a train, and finally visited the Great Wall, where he did backflips.

In his stream on March 28, Watkins traveled to Henan to visit the famous Shaolin Temple in Dengfeng, hoping to find a master to teach him kung fu. He trained with Shaolin monks—footage that quickly went viral.

Lastly, on March 29, he opened his own Weibo account and published his first post. On Douyin, he shared a video of his visit to Fuxi Mountain in Zhengzhou, featuring the popular “Stairway to Heaven” tourist spot.

On social media, many viewers were captivated by the content. One major talking point was the remarkably strong internet connection that allowed him to livestream for six-hour stretches without losing signal in Shanghai. (Though his Beijing stream started off patchier, the drop was minor.) For many, it symbolized the quality of China’s 5G services.

Foreign viewers also praised how safe, friendly, and clean the country appeared, and how his streams highlighted various aspects of Chinese culture—from everyday people to traditional arts and local cuisine.

 
🔹 Telling & Spreading China’s Stories Well
 

It is no wonder the success of the Jiǎkànggē livestreams is celebrated by Chinese official media in an age where China’s foreign communication aims to increase China’s international discourse power, shaping how the world views China and making that image more credible, more respectable, and more lovable.

That’s not just an observation — it’s an official strategy. Introduced by Xi Jinping in 2013, “Telling China’s Story Well” (“讲好中国故事”) is a political slogan that has become a key propaganda strategy for China and continues to be a priority in finding different ways of promoting Chinese culture — new ways of telling China’s story in the social media age – while countering Western dominant narratives about China.

In increasingly digitalized times, it is not just about telling China’s story well, but also spreading China’s message effectively — preferably through genuine and engaging stories (Cai 2013; Qiushi 2021).

Especially young, non-official ‘storytellers’ can make China’s image more relatable and dynamic. One major example, highlighted in a 2022 case study by Zeng Dan (曾丹), is Chinese influencer Li Ziqi (李子柒). You’ve probably heard of her, or seen snippets of her videos: she creates soothing, cinematic content depicting China’s countryside lifestyle, focused on cooking, crafts, and gardening. With 26 million followers on YouTube, Li Ziqi became a viral sensation who successfully communicated an authentic and appealing ‘China story’ to a broad global audience.

Li Ziqi in one of her YouTube videos.

Although the calm and composed Li Ziqi and the loud, chaotic IShowSpeed couldn’t be more different, they have some things in common: both have large international fanbases, including their millions of YouTube subscribers; they offer perspectives that differ from Chinese state media or official channels; and they have the capacity not just to tell China’s story well, but to spread it effectively through videos and livestreams.

 
🔹 Spontaneous Stream or Scripted Propaganda?
 

IShowSpeed’s China streams have triggered a wave of responses from fans and viewers, sparking discussions across international social media and even making newspaper headlines.

In English-language online media spheres, there appear to be a range of perspectives on Watkins’ China trip:

📌 One prominent view—also echoed by various foreign influencers on YouTube and other platforms—is that IShowSpeed’s visit counters “Western media lies” about China and has successfully shown the “real China” through his livestreams. The Shanghai-based media outlet Radii claimed that “IShowSpeed’s China Tour is doing more for Chinese Soft Power than most diplomats ever could.”

📌 Others challenge this narrative, questioning which dominant Western portrayals of China IShowSpeed has actually disproven. Some argue that the idea of China being a “bleak place with nothing to do where people live in misery” is itself a false narrative, and that presenting IShowSpeed’s livestreams as a counter to that is its own form of propaganda (see: Chopsticks and Trains).

📌 There are also those who see Watkins’ trip as a form of scripted propaganda. To what extent were his livestreams planned or orchestrated? That question has become one of the central points of debate surrounding the hype around his visit.

These rumors have been addressed by cameraman Slipz (@shotbyslipz), who took to X on March 28, 2025. Slipz posted that the team is “(..) not making political content, not any documentary and no journalism,” and later added: “Fact: amount of money IShowSpeed has received from Chinese Government = $0.”

But does the fact that IShowSpeed did not receive money from the Chinese government mean that it wasn’t also a form of China promotion?

➡️ Organized — it definitely was. Any media trip in China has to be. IShowSpeed would have needed a visa, he had translators with him, and throughout the streams it’s evident that local guards and public security officers were present, walking alongside and helping to keep things under control, especially in crowded areas and at major tourist spots — from Nanjing Road in Shanghai to an entire group of guards seemingly accompanying the entourage in the Forbidden City.

One logistical “advantage” to his visit was the fact that YouTube is blocked in China. While some Chinese fans do bypass the Great Firewall to access the platform, IShowSpeed remains far less known in China than in many other countries — a factor that likely contributed to how smoothly the streams went and helped prevent chaos. The team also launched a Douyin account during the trip, where he now has over two million followers. (To stream directly to their 37 million followers on YouTube, Watkins’ team either needed a VPN to access WiFi or had arranged roaming SIM cards to stay connected.)

➡️ Was it staged? Many parts clearly weren’t: casual public conversations, spontaneous barber visits in both Shanghai and Beijing (with barbers looking unsure of how to handle the situation), and wholesome fan encounters. There was even a moment when Watkins walked into a public restroom and forgot to mute the sound.

But other parts of the trip were undeniably staged — or at least framed to appear spontaneous. When visiting a marriage market in Shanghai, for instance, two actors appeared, including one woman with a sign stating she was looking for someone “capable of doing backflips.”

When Watkins took a “random” ride in what was described as the fastest car in China — the Xiaomi SU7 Ultra — the vehicle appeared to be conveniently parked and ready.

Similarly, when the streamer “ran into” Chinese-American TikTok influencer Miles Moretti (李美越) in Beijing, it turned out to be the person who would give him the now-iconic bright Dongbei flower suit and accompany him on his journey.

The ping-pong, the kung fu, the Peking opera, the hotpot, the Forbidden City tour — it all plays into the kinds of experiences that official channels also like to highlight. While likely planned by Watkins’ team in coordination with local partners, it was all far more orderly and tourism-focused than, for example, Watkins’ chaotic visit to the Netherlands.

Watkins and his entourage were also well-informed about the local dos and don’ts. At one point, Watkins even mentions “following the rules,” and when Moretti tells him mid-stream that “somebody very important lives on our left,” Watkins asks “Who?” — but the camera zooms out and the question goes unanswered, suggesting they may have been reminded that certain names or topics were off-limits (judge the moment for yourself here).

The livestream didn’t always go exactly the way Watkins wanted, either. When he attempted to take more random walks around the city, the crew appeared to be informed that some areas were off-limits, and he was asked to return to the car to continue the trip (clips here and here).

 
🔹 The “Nàge” Song
 

One major talking point surrounding IShowSpeed’s China livestreams was “the N-word.” No, not that N-word — but the Chinese filler word “nàge” or “nèige” (那个). Like “uhm” in English or “eto” in Japanese, “nàge” is a hesitation marker commonly used in everyday Mandarin conversation. It also functions as a demonstrative pronoun meaning “that.”

The word has previously stirred controversy because of its phonetic resemblance to a racial slur in English. In 2020, an American professor at the University of Southern California’s Marshall School of Business was even temporarily suspended after using the word during an online communications class — some students misunderstood its context and took offense.

The word — and the song “Sunshine, Rainbow, White Pony” (阳光彩虹小白马) by Chinese singer Wowkie Zhang (大张伟), which repeatedly features the word nàge in its chorus — popped up multiple times during Watkins’ trip. The catchy tune essentially became the theme song of his visit.

The first nàge moment actually already appeared within the first five minutes of Watkins’ Shanghai stream, when a Chinese comedian approached him on the street, trying to recall a joke. “What?!” Watkins reacted, with laughter in the background. “That’s not a joke, you said n**! It’s my first five minutes in China!” he exclaimed, before patting the man’s back in a friendly gesture, clearly not offended.

🔄 It resurfaced again within the first hour when Watkins visited a marriage market and one of the performers sang the Wowkie Zhang song. Watkins initially acted shocked, then demanded they sing it again — only to burst out laughing and start singing along.

🔄 Later, he sang the song again with a street saxophonist and encouraged others to join in.

🔄 At other moments, he played up the drama again, feigning anger when a crowd broke into the chorus, and it became a recurring gag throughout the streams.

These incidents all seem staged. One of the main reasons Watkins is known to many netizens in China is because of an older video clip showing his exaggerated reaction to the nàge song — dating back to at least 2022. So while it may have looked spontaneous, Watkins was already familiar with the word and the viral song long before his China trip.The attention given to the nàge ‘controversy’ was likely amplified for views and engagement.

While Watkins was clearly in on this part of the show — as with others — he also seemed genuinely, and at times amusingly, unaware of many things in China. He repeatedly referred to RMB as “dollars,” mistook elderly women for retired YouTube streamers, and even assumed that a woman livestreaming near the Forbidden City was reading his chat and trying to collaborate with him — although she seemed totally uninterested and was just minding her own business.

 
🔹 A Win-Win Situation
 

In the end, IShowSpeed’s visit highlighted two sides effectively doing their job. Watkins and his team successfully arranged a YouTube trip that generated high ad revenue, attracted millions of new subscribers, and boosted his brand and global fame.

On the Chinese side, there was clearly coordination behind the scenes to ensure the trip went smoothly: avoiding controversy, ensuring safety, and showcasing positive aspects of Chinese culture. From traditional opera and kung fu to ping pong, IShowSpeed’s content gave center stage to the kinds of cultural highlights that align closely with China’s official narratives and tourism goals. Even if the government didn’t pay the YouTuber directly, as his team has emphasized (and there’s no reason to doubt them), the trip still fit seamlessly into China’s soft power strategy.

IShowSpeed’s China visit has created a unique media moment that resonates for several reasons: it’s the encounter of a young modern American with old traditional China; it is a streamer known for chaos visiting a nation known for control. And it brings different benefits to both sides: clicks and ad revenue for IShowSpeed, and free foreign-facing publicity for China.

No, IShowSpeed didn’t undo years of critical Western media coverage on China. But what his visit shows is that we’ve entered a phase where China is becoming more skilled at letting others help tell its story — in ways that resonate with a global, young, online audience. He didn’t do “God’s work.” He simply did what he always does: stream. And with China’s help, he streamed China very well.

There’s so much more I want to share with you this week — from Chinese reactions to the devastating Myanmar earthquake, to a recent podcast I joined with Dutch newspaper De Telegraaf (link in Dutch, for those interested). But it also happens to be my birthday today, and I’m really hoping to still grab some birthday hotpot — so I’ll wrap this up here. I’ll keep you informed on the other trends in the next newsletter.📨.

Best,
Manya
(@manyapan)

References:

Cai, Mingzhao 蔡名照. 2013. “Telling China’s Stories Well and Spreading China’s Voice: Thoroughly Studying and Implementing the Spirit of Comrade Xi Jinping’s Important Speech at the National Conference on Propaganda and Ideological Work [讲好中国故事，传播好中国声音——深入学习贯彻习近平同志在全国宣传思想工作会议上的重要讲话精神].” People’s Daily 人民日报, October 10. http://politics.people.com.cn/n/2013/1010/c1001-23144775.html. Accessed March 29.

Qiushi 求是网. 2021. “Xi Jinping: Telling China’s Story Well, Spread China’s Voice Well [习近平：讲好中国故事，传播好中国声音].” Qs Theory, June 6. http://www.qstheory.cn/zhuanqu/2021-06/02/c_1127522386.htm. Accessed March 29.

Zeng Dan 曾丹. 2022. “How to Tell China’s Story Well: Taking Li Ziqi as an Example [如何讲好中国故事——以李子柒为例].” Progress in Social Sciences 社会科学进展 4 (1): 10–19. https://doi.org/10.35534/pss.0401002.