China Arts & Entertainment
Top 30 Classic TV Dramas in China: The Best Chinese Series of All Time
This year marks 60 years of Chinese TV drama. These are the best Chinese TV dramas of all time.

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They might have aired 30 years ago, but some TV dramas just never get old. We have listed the greatest classic Chinese TV dramas of all time, that, either because of their high-production value or historic ratings, are still talked about today. A special overview by What’s on Weibo, as China celebrates 60 years of TV drama this year.
This year marks the 60th anniversary of Chinese TV drama since the airing of the very first (one-episode) drama A Mouthful of Vegetable Pancakes (一口菜饼子) in 1958 – the same year in which the very first Chinese television station started broadcasting (Bai 2007, 77).
The drama, live broadcasted by Beijing Television, sent out a message of frugality, as one young girl warns her sister not to waste food by remembering her of their difficult past and brave mother, who died of hunger while even refusing to eat the last bit of food, a vegetable pancake.

A Mouthful of Pancakes aired in 1958.
Much has changed within those sixty years. After a time when the production of TV dramas practically came to a standstill during the Cultural Revolution, the late 1970s and early 1980s saw a boom in the popularity of television dramas, along with a spike in households that owned their own TV. From 1980 to 1990, the number of household television sets in China increased from 5 to 160 million (Wang & Singhal 1992, 177).
Since the 1980s, mainland China has gone from a country where most television dramas were imported from outside the country, to one that has the most thriving domestic TV drama industry in the world.
Some TV dramas in this list have become classics through time, some are fairly new but have already become classics within their genre.
This list has been fully compiled by What’s on Weibo, based on popularity charts on Chinese search engine Sogou’s top tv drama listings of all time, together with ranking on Douban, a big Chinese social networking service and influential media review website, and also based on academic sources that note the importance of some of these TV classics.*1 We will list a recommendation list of relevant books at the end of this article.
Most of these series will have links redirecting to available versions on Youtube or elsewhere – unless written otherwise, they do not have English subtitles. Please share English subtitled versions in the comment section if you found them, we’ll add them to the list.
This article is focused on those classics that have been important for the TV drama industry and audiences of mainland China. Although several of them were produced in Hong Kong or Taiwan, the majority is from the PRC. These dramas are listed in chronological order of appearance, not listed based on rankings.
Here we go!
#1 The Bund / The Shanghai Bund (上海滩)
Year: 1980
Episodes: 25
Genre: Action
Produced in Hong Kong
Noteworthy: “The Godfather of the East”
This TV drama became such a sensation across China in 1980, that it also became known as the Chinese equivalent to the classic Godfather series.
Actors Angie Chiu and Chow Yun-Fat star in this Hong Kong drama, that is set in the underworld society of 1920s Shanghai, and revolves around the tumultuous love story between Feng Chengcheng and Xu Wenqiang.
The series has become such a classic that it still plays an important role in popular culture of China today, with newer films and TV dramas also being based on the original series (the 2007 mainland China TV series Shanghai Bund, for example, is a remake of the 1980 original). If you ever go to karaoke, you’re probably already familiar with the shows’ famous theme song ‘Seung Hoi Tan’ (上海滩) by Frances Yip (see here).
#2 Eighteen Years in the Enemy’s Camp (敌营十八年)
Year: 1981
Episodes: 9
Genre: War Drama
Watch the first episode here on Youtube.
Noteworthy: “The first TV drama produced by CCTV”
Eighteen Years in the Enemy’s Camp is somewhat of a cult classic in China. Despite the fact that the TV drama itself was somewhat poorly produced, it still gets high ratings on sites such as QQ Video or Douban today.
At a time when the Chinese TV drama market was still dominated by imported television series (from Hong Kong, US, and other places), Eighteen Years in the Enemy’s Camp was the first drama series made by CCTV (Bai 2007, 80), directed by Wang Fulin (王扶林) and Du Yu (都郁).
The story revolves around the Communist Party member Jiang Bo (江波), who spends 18 years undercover in the “tiger’s den” (虎穴), the enemy’s camp, as a National Army officer, thwarting the Nationalists’ plans until the 1949 victory of the Communists.
Fun fact by Ruoyun Bai (see references): despite the fact that the entire show is about the Nationalists Army, not a single Nationalist Army uniform could be found for the cast. The uniforms that were used, were not up to par: the main character had to leave his coat’s collar unbuttoned because it was too tight, and always has his hat in his hands because it was actually too small to fit his head (2007, 80-81).
#3 Ji Gong (济公)
Year: 1985
Episodes: 12
Genre: Fantasy
Directed by Zhang Ge (张戈)
All episodes can be watched here on YouTube.
Noteworthy: “Influenced by Charlie Chaplin”
This popular TV series is centered around Ji Gong, the folk hero and Chan Buddhist monk who lived in the Southern Song and, according to legend, had supernatural powers and spent his whole life helping the poor.
The main role is played by renowned Chinese artist and mime master You Benchang (游本昌). In an interview with CRI, the actor once said that he was heavily influenced by his idol Charlie Chaplin for this role, sometimes even imitating some of Chaplin’s gestures.
#4 Chronicles of The Shadow Swordsman (萍踪侠影)
Year: 1985
Episodes: 25
Genre: Wuxia/Martial
Directed by: Wang Xinwei (王心慰)
Produced in Hong Kong
Episodes available on Youtube here.
Noteworthy: “Perfect Chemistry between Leading Actors”
This classic TV drama features actors Damian Lau as Zhang Danfeng and Michelle Yim as Yun Lei, whom are often praised by drama lovers for their perfect chemistry in these series. Of the many adaptations there are of Liang Yusheng’s wuxia novel Chronicles of The Shadow Swordsman, many say this is their favorite.
#5 New Star (新星)
Year: 1986
Episodes: 12
Directed by: Li Xin (李新)
Noteworthy: “A drama anyone over 50 will remember”
This CCTV mini-drama, based on the novel by Ke Yunlu (柯云路), tells the story of a young Party secretary fighting against corruption. Before Heaven Above (later in this list), it is thus one of the very first dramas to focus on corruption as a theme, and it also caused a buzz at the time for doing so – most people over 50 in China today will probably remember this TV series today.
#6 Journey to the West (西游记)
Year: 1986
Episodes: 25 for season one, 16 episodes for season 2
Directed by Yang Jie (杨洁)
Watch on Youtube (with English subtitles!) here.
Noteworthy: “Shot with one camera”
This is an all-time favorite TV series in China that is still rated with a 9.5 on the TV drama database of search engine Sogou. It has been an instant classic from the moment it was first broadcasted by CCTV in October of 1986.
Journey to the West (Xīyóu jì 西游记), published in the 16th century (Ming dynasty), is one of the most important classical works in the history of Chinese literature, and tells the story of the long journey to India of the Tang Monk Xuánzàng, who is on a mission to obtain Buddhist sutras. He is joined by three disciples, the pig demon Zhū Bājiè, the river demon Shā Wùjìng, and Sūn Wùkōng, who is better known as the Monkey King in the West.
The Monkey in the series is played by Zhang Jinlai (章金莱), also known as Liu Xiao Ling Tong, who recently recalled in an CGTN article that: “it was 30 years ago and we’d got only one camera. We walked around China’s picturesque areas and took 17 years to make 41 episodes. 17 years equals Monk Xuanzang’s pilgrimage for the Buddhist scriptures.”
#7 “The Dream of Red Chambers” (红楼梦)
Year: 1987
Episodes: 36
Directed by: Wang Fulin (王扶林)
Watch with English subtitles on YouTube here.
Noteworthy: “The first entry of Chinese tv drama into the global market”
Even today, this CCTV TV series from 1987 is still rated as one of the best Chinese television series of all time on Sogou, where viewers rate it with a 9.6.
Like other series in this list, this is an adaptation from a classic literary work; Dream of the Red Chamber (Hónglóumèng), one of China’s Four Great Classical Novels, which was written by Cao Xueqin in the mid-18th century during the Qing.
In June of 1987, this TV drama became the first Chinese television series to be exported to Malaysia and West-Germany, making it “the first entry of Chinese tv drama into the global market” (Hong, 32).
#8 The Investiture of the Gods (封神榜)
Year: 1990
Episodes: 36
Genre: Fantasy/Costume Drama
Directed by: Guo Xinling (郭信玲)
The first episode is available on YouTube here.
Noteworthy: “Based on the classical novel Fengshen Yanyi“
This TV series is based on the classical novel Fēngshén Yǎnyì (封神演義), also known as Investiture of the Gods or Creation of the Gods), written by Xu Zhonglin and Lu Xixing. Famous Chinese actor and painter Lan Tianye (蓝天野) was praised for his role as Jiang Ziya in this drama.
The (female) director Guo Xinling (1936-2012) was a Party member who worked on many televised works during her career.
Just as many others of the series in this list based on classic novels, there are remakes of these series in recent times.
#9 Yearnings / Kewang (渴望)
Year: 1990
Episodes: 50
Genre: Family drama
Directed by Lu Xiaowei (鲁晓威) and Zhao Baoguang (赵宝刚).
Noteworthy: “China’s first soap opera – a national craze”
Yearnings is also known as China’s real first soap opera, which caused a sensation across the nation – sales of TV sets surged, and streets were empty when it aired.
The story’s time spans from the Cultural Revolution until the 1980s reform period. The series, set in Beijing, tells the story of working-class woman Liu Huifang and her unlikely marriage to the middle-class Wang Husheng, a university graduate who comes from a family of intellectuals. When Huifang finds an abandoned baby, she adopts it against the will of her husband.
As the first TV series that focused on the hopes and dreams of ordinary Chinese people, the success of Yearnings was unprecedented, and it formed the beginning of Chinese television drama as we know it today.
#10 River of Gratitude (江湖恩仇录)
Year: 1989
Episodes: 20
Genre: Wuxia/Martial
Directed by: Mao Yuqin (毛玉勤)
Watch first episode on Youtube here
Noteworthy: “A true classic – it’s nostalgia!”
One of the main stars in this series is actress and producer Wenying Dongfang (东方闻樱), who also starred in A Dream in Red Mansion (1987).
By commenters on Douban, this series is described as a “cult classic.” Although some say the quality of the series, now, looking back, is somewhat substandard or silly, according to many, the nostalgia of seeing it in the early 1990s and being excited about it seems to play a major factor in why people still grade this one as a true classic – it’s nostalgia!
#11 Wan Chun (婉君)
Year: 1990
Episodes: 18
Produced in Taiwan
Noteworthy: “The first Taiwanese TV series filmed in mainland China”
Wan Chun is a 1990 Taiwanese television series about a girl named Wan Chun and her three adoptive brothers, that is based on the 1964 novel “Wan-chun’s Three Loves” (追尋) by Taiwanese writer and producer Chiung Yao, and which is set in Republican era Beijing.
This is the first cross-strait co-production, as a Taiwanese TV series filmed in mainland China. Wan Chun was followed up by the 1990 Taiwanese television drama series Mute Wife based on Chiung Yao’s 1965 novelette of the same name.
#12 The Legend of Qianlong (戏说乾隆)
Year: 1991
Episodes: 41
Genre: Imperial drama
Produced in Taiwan (Taiwan-mainland co-production)
Watch on Youtube here
Noteworthy: “The beginning of a genre”
In today’s TV drama environment of China, dramas that focus on life during the imperial era are ubiquitous, with titles from the Imperial Doctress to Story of Yanxi Palace being everywhere.
But when this drama aired in the early 1990s, it was something quite new. The Legend of Qianlong, also known with the English translation A Fanciful Account of Qianlong, tells the (fictional) stories of the Emperor Qianlong’s Tours of Southern China.
It was the beginning of a drama genre that turned out to be hugely popular, with many new television series focusing on emperors and empresses in their youth or their tumultuous lives during the height of their power (Barme 2012, 33). Perhaps, this 1991 series will always be a classic just because it was one of the first within its genre.
#13 The Legend of the White Snake (新白娘子传奇)
Year: 1992
Episodes: 50
Genre: Fantasy
Produced in Taiwan
Noteworthy: “One of the most replayed TV series”
As many of the classics in this list, this hit TV series is also based on a folk legend, namely that of Madame White Snakee, a mythical snake-like spirit who strives to be human, which is a source for many major Chinese operas, films.
The 1992 TV series stars Angie Chiu and Cecilia Yip. In 2016, it was still one of the most replayed TV series. Even on IMDB, it is rated with an 8.2.
#14 Beijinger in New York (北京人在纽约)
Year: 1993
Episodes: 21
Watch: YouTube
Buy novel (in English): Beijinger in New York
Noteworthy: “The first Chinese-language TV show to be shot in the United States”
The TV series Beijinger in New York, also known as A Native of Beijing in New York, based on the novel by Glen Cao (Cao Guilin), was a hit when it was first broadcasted broadcast nightly on CCTV and watched by millions of Chinese.
The story follows the immigrant life of cello player and Beijinger Wang Qiming (王起明), who arrives in New York in 1980 together with his wife, and begins working as a dishwasher the next day.
The TV series marks a first in several aspects. It was the first Chinese-language TV show to be shot in the United States, but it was also the first time ever for the production of a Chinese TV drama that a bank loan was used in order to make it possible (Bai 2007, 83); in other words, it also marks the start of a more commercialized TV drama environment. FYI: the bank loan that was used was a total of US$1.3 million.
#15 I Love My Family (我爱我家)
Year: 1993
Genre: Comedy
Episodes: 120
Directed by Ying Da (英达) et al
First episodes on Youtube here.
Noteworthy: “First Mandarin-language sitcom”
I Love My Family (Wǒ ài wǒjiā) is one of China’s first popular sitcoms, and the first Mandarin-language and multi-camera sitcom, that aired from 1993 to 1994. It has since been rerun on local channels countless of times.
One of the show’s central stars is Wen Xingyu (文兴宇), who was a popular comedian and director in mainland China.
At the time of I Love My Family, sitcoms were mostly characterized by their low production cost; three episodes were made within five working days (Di 2008, 122).
#16 Justice Pao (包青天)
Year: 1993
Episodes: 236
Genre: Historical drama
Produced in Taiwan
Some episodes on Youtube here.
Noteworthy: “From 15 to 236 episodes”
This series is themed around Bao Zheng (包拯), a government official who lived during China’s Song Dynasty, from 999 to 1062, and who was known for his extreme honesty and uprightness. Award-winning Taiwanese actor Jin Chao-chun (金超群) plays this role.
The series was originally scheduled for just 15 episodes, but was received so well when it aired on Chinese Television System, that it was eventually expanded to 236 episodes.
The story of Justice Bao is still a recurring topic in the popular culture of mainland China, Hong Kong, and Taiwan. There was the 2008 Chinese series Justice Bao, and the 2010 New Justice Bao, that also starred Jin Chao-chun.
#17 Romance of the Three Kingdoms (三国演义)
Year: 1994
Episodes: 84
Genre: Historical drama
Directed by: Wang Fulin (王扶林)
Buy original novel here: The Romance of the Three Kingdoms
Some episodes available with English subtitles here.
Noteworthy: “400,000 people involved in the production”
This is another classic TV series produced by the CCTV, and that is also adapted from a classical novel (same title, written by Luo Guanzhong). Its director, Wang Fulin (王扶林), also directed the CCTV’s first TV drama Eighteen Years in the Enemy’s Camp, and A Dream of Red Mansions.
The production of Romance of the Three Kingdoms is especially noteworthy because the productions costs broke all kinds of records at the time; the production of the 84 one-hour episodes took four years, total costs were over 170 million RMB (±US$25 million), and around 400,000 people were involved – the larghest number of people involved in a production in the history of Chinese television. THe show has been watched by some 1,2 billion people around the world (Hongb 2007, 127).
#18 Heaven’s Above (苍天在上)
Year: 1995
Episodes: 17
Genre: Corruption drama (or ‘anti-corruption drama’ 反腐剧)
Directed by: Zhou Huan (周寰)
Noteworthy: “First drama about high-level official corruption”
In late 1995, the CCTV drama Heaven Above (Cāngtiān zài shàng) debuted on Chinese TV as the first TV series about high-level official corruption in the PRC.
It would certainly not be the last, as ‘corruption dramas’ became wildly popular – it is the entire focus of the 2014 book Staging Corruption by scholar Ruoyun Bai.
#19 Foreign Babes in Beijing (洋妞在北京)
Year: 1995
Genre: Urban drama
Episodes: 20
Noteworthy: “Foreign women in Chinese dramas”
Foreign Babes in Beijing (Yáng niū zài Běijīng) was one of the new kinds of dramas that featured foreigners in China. This series focues on two Chinese men and two American women, of which one seduces one of the Chinese (married) men. The show was a big hit in the mid-1990s.
One of the show’s actresses, Rachel Dewoskin, later wrote the recommended book Foreign Babes in Beijing: Behind the Scenes of a New China about her experiences of playing in the show and her life in China at the time.
#20 My Dear Motherland (我亲爱的祖国)
Year: 1999
Episodes: 21
Genre: History/War
Directed by: Liu Yiran (刘毅然)
Watch on Billibilli here, QQ, or on Youtube.
Noteworthy: “Rated with a 9.1”
This 1999 series is still rated with a 9.1 on Douban today. The series tells the experiences and hardships of three generations of Chinese intellectuals during the tumultuous (war)history of China’s 20th century, starting during the May Fourth Movement in 1919.
Chen Jianbin (陈建斌) is one of the famous actors starring in this TV drama as Fang Xuetong.
#21 Yongzheng’s Dynasty (雍正王朝)
Year: 1999
Episodes: 44
Genre: History/Costume
Noteworthy: “Qing drama as export product”
Yongzheng Dynasty is one of many so-called “Qing dramas” – TV dramas that focus on palace life during the 1644-1911 Qing Dynasty. According to scholar Zhu (2008), one of the reasons that dynasty dramas such as these became so enormously popular in mainland China is that (1) certain social and political issues can be discussed in the shape of stories and settings that are very much removed from modern-day China, allowing for more relaxed censorship policies on storylines and dialogues, and (2) that the reconstruction of “history” allows room for artistic interventions (22).
This epic TV drama was loosely based on historical events in the reigns of the Kangxi and Yongzheng Emperors, and became one of the most watched television series in mainland China of the 1990s. Also outside of China the show became very popular, making the so-called ‘Qing dramas’ an export product.
#22 Towards the Republic (走向共和)
Year: 2003
Episodes: 59 (one hour per episode)
Genre: Historical drama
Directed by: Zhang Li (张黎)
Watch on Youtube , buy on Amazon with English subtitles.
Noteworthy: “59 hours of historical drama”
This is one of the most important TV series in this list. On Sogou ratings, Towards the Republic, which is also known as For the Sake of the Republic (Zǒuxiàng gònghé), is one of netizens’ top all-time favorite series, rated with a 9.7.
The CCTV TV drama tells the story of the historical events in China from 1890 to 1917 – the time during which the Qing Dynasty collapsed, and the Republic of China (1912-1949) was founded. Important historical events such as the First Sino-Japanese War (1894–1895), the Hundred Days’ Reform (1898), the Boxer Rebellion (1900) and the Xinhai Revolution (1911) are all featured in this epic drama, that mainly focuses on the lives of Li Hongzhang (Chinese general in late Qing), Empress Dowager Cixi, Sun Yat-Sen, and Yuan Shikai.
The historical drama was not without controversy, and some parts of it have been censored in mainland China. The original series had 60 episodes, which was later brought down to 59. The TV drama has also been a fruitful topic for scholars for its representation of history. In the 2007 book Representing History in Chinese Media: The TV Drama Zou Xiang Gonghe (Towards the Republic) by Gotelind Mueller, the entire series is analyzed in how history is portrayed and narrated.
#23 Crimson Romance (血色浪漫)
Year: 2004
Episodes: 32
Genre Youth drama
Directed by: Teng Wenji (滕文骥)
Watch on Youtube here.
Noteworthy: “Romantizing the Cultural Revolution”
There are almost 40,000 netizens ranking this 2004 TV drama on Douban, where it scores a 8.7.
The TV drama, which is also known as Romantic Life in English, dramatizes memories of the Cultural Revolution, focusing on a group of friends, their hopes and dreams, and their romantic life. It is set in Beijing in the late period of the Cultural Revolution (1966-1976).
#24 Fu Gui (福贵)
Year: 2005
Episodes: 33
Genre: Family drama
Directed by Zhu Zheng (朱正)
Original novel: To Live: A Novel
Watch on Youtube.
Noteworthy: “Based on the novel To Live“
Chuang Chen (陈创), Liu Mintao (刘敏涛), and Li Ding (李丁) star in this family drama, which is ranked with a 9.4 on Sogou, and 4,5 stars or a 9,4 on Douban (more than 5500 voters).
The drama is based on the 1993 novel by Yu Hua (余华) To Live (活着), which focuses on the struggles of the son of a wealthy land-owner, Xu Fugui, amidst the tumultuous times of the Chinese Revolution. The story became well-known by the movie of the same title by Zhang Yimou, which became an international success.
#25 Ming Dynasty in 1566 (大明王朝1566)
Year: 2007
Episodes: 46
Genre: Historical drama
Directed by: Zhang Li (张黎)
Available with English subtitles on Youtube
Noteworthy: “Scoring a 9.7 on Douban, rated by 55,000 users”
Ming Dynasty in 1566 (Dàmíng wángcháo), starring Chinese actor Chen Baoguo (陈宝国), is a Chinese television series based on historical events during the reign of the Jiajing Emperor (1507-1567) of the Ming dynasty. It was first broadcast on Hunan TV in China in 2007.
On Douban, more than 55000 people have reviewed this movie at time of writing, coming up with a score of 9.7, one of the highest in this list. The drama was also broadcasted in other countries, such as South Korea.
#26 Dwelling Narrowness (蜗居)
Year: 2009
Episodes: 35
Genre: Urban Drama
Directed by: Teng Huatao (滕华涛)
Watch on Youtube here.
Noteworthy: “Focusing on China’s urban real estate bubble”
Also known as Snail House, this TV drama was all the rage back in 2009 for its focus on the crazy housing market in urban China and the lives of ordinary Chinese who are struggling to survive in the city while living in small spaces. Dwelling Narrowness, based on a novel by the same name, tells the story of two sisters with very different lifestyles who are looking to find a home in Shanghai (or actually, the fictional city of Jiangzhou, that basically represents Shanghai), and improve their quality of life, each in their own way.
The real estate bubble is a major theme throughout these series, and the TV drama was much-discussed within the frame of Chinese urban dwellers becoming “house slaves” (房奴). In the year of its broadcast, Wall Street Journal featured an article dedicated to the series and the discussions it triggered online.
#27 The Red (红色)
Year: 2014
Episodes: 48
Genre: War drama
Directed by Yang Lei (杨磊)
Noteworthy: “Patriotism as its key theme”
War drama The Red (Hóngsè) receives a 9.2 on Sogou, showing its success over the last four years.
Edward Zhang (Zhang Luyi 张鲁一) stars in this drama as an ordinary worker in Shanghai who gets caught up in underground circles at the start of the Second Sino-Japanese War, and unexpectedly becomes part of a decisive moment in Chinese modern history. Perhaps unsurprinsginly, ‘Patriotism’ is a key theme throughout The Red.
#28 Moral Peanuts – Final Season (毛骗 终结篇)
Year: 2015
Episodes: 10 (in this season)
Genre: Crime/Suspense
Directed by: Li Hongchou (李洪绸)
Watch on Youtube here.
Noteworthy: “A gang of friends who con people out of their money”
Rated with a 9.6 on Sogou and a 9.6 by more than 26,000 people on Douban, this TV drama has already become somewhat of a classic in the few years since its airing.
Moral Peanuts is a multiple season series (started in 2010), that follows a gang of five young friends who live together and earn their living in a fraudulent way. The series is characterized by its cliffhanger endings and its ‘grey’ portrayals of its characters.
#29 In the Name of the People (人民的名义)
Year: 2017
Episodes: 55
Genre: Corruption drama
Directed by: Li Lu
Available with English subtitles here.
Noteworthy: “The Chinese ‘House of Cards'”
In the Name of the People is a 2017 highly popular Chinese TV drama series based on the web novel of the same name by Zhou Meisen (周梅森). Its plot revolves around a prosecutor’s efforts to unearth corruption in a present-day fictional Chinese city by the name of Jingzhou.
In 2017, this TV drama became a true craze on Chinese social media and received a lot of coverage in (international) media for being comparable to the American political drama House of Cards. The BBC described it as “the latest piece of propaganda aimed at portraying the government’s victory in its anti-corruption campaign.”
#30 White Deer Plain (白鹿原)
Year: 2017
Genre: Contemporary historical drama
Episodes: 85
Directed by: Liu Jin (刘进)
WAtch with English subs at New Asian TV here.
Noteworthy: “The epic TV drama took nearly 17 years to prepare and produce “
This TV drama has consistently been ranking number one in Baidu’s and Weibo’s popular drama charts last year, and is now ranked with an 8.8 score on sites such as Douban. Although it is somewhat tricky to call such a present-day drama a ‘classic’, we’ll take the chance.
White Deer Plain is based on the award-winning Chinese literary classic by Chen Zhongshi (陈忠实) from 1993. The preparation and production of this series reportedly took a staggering 17 years and a budget of 230 million yuan (US$33.39 million).
The success of the novel this TV drama is based on, has previously been compared to that of One Hundred Years of Solitude by Gabriel García Márquez. White Deer Plain follows the stories of people from several generations living on the ‘White Deer Plain,’ or North China Plain in Shaanxi province, during the first half of the 20th century. This tumultuous period sees the Republican Period, the Japanese invasion, and the early days of the People’s Republic of China. The series is great in providing insights into how people used to live, from dress to daily life matter. The scenery and sets are beautiful.
Some Book Recommendations Based on This List:
* Chinese Television in the Twenty-First Century: Entertaining the Nation (Routledge Contemporary China Series Book 121)
* Staging Corruption: Chinese Television and Politics (Contemporary Chinese Studies)
* Television in Post-Reform China: Serial Dramas, Confucian Leadership and the Global Television Market (Routledge Media, Culture and Social Change in Asia)
* TV Drama in China (TransAsia: Screen Cultures)
* Media in China: Consumption, Content and Crisis
Want to know more? Check out our various Top 10s of popular Chinese TV Dramas from 2013 to present here.
By Manya Koetse
Follow @whatsonweibo
*1(We kindly ask not to reproduce this list without permission – please link back if referring to it).
References
Bai, Ruoyun. 2007. “TV Dramas in China – Implications of the Globalization.” In Manfred Kops and Stefan Ollig (eds), Internationalization of the Chinese TV sector, 75-99. Berlin: LIT Verlag.
Bai, Ruoyun. 2014. Staging Corruption: Chinese Television and Politics. Vancouver: University of British Columbia Press.
Barmé, Geremie. 2012. “Red Allure and the Crimson Blindfold.” China Perspectives, 2012/2, 29-40.
Di, Miao. 2008. “A Brief History of Chinese Situation Comedies.” In Ruoyun Bai, Ying Zhu, Michael Keane (eds), TV Drama in China, 117-129. Hong Kong: Hong Kong University Press.
Hong, Junhao. 2007. “The Historical Development of Program Exchange in the TV Sector.” In Manfred Kops and Stefan Ollig (eds), Internationalization of the Chinese TV sector, 25-40. Berlin: LIT Verlag.
–. 2007b. “From Three Kingdoms the Novel to Three Kingdoms the Television Series: Gains, Losses, and Implications.” In Kimberly Besio and Constantine Tung (eds), Three Kingdoms and Chinese Culture, 125-143. Albany: State University of New York Press.
Zhu, Ying. 2008. “Yongzheng Dynasty and Totalitarian Nostalgia.” In Bai R, Keane M, Zhu Y. (eds), TV Drama in China, 21-33. Hong Kong: Hong Kong University Press; 2008
Wang, Min and Arvind Singhal. 1992. “Kewang, A Chinese Television Soap Opera With A Message.” Gazette 49: 177-192.

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China ACG Culture
Inside the Labubu Craze and the Globalization of Chinese Designer Toys
Labubu is not ‘Chinese’ at all—and at the same time, it is very much a product of present-day China.

Published
2 weeks agoon
June 8, 2025
Labubu – the hottest toy of 2025 – is making headlines everywhere these days. The little creature is all over TikTok, and from New York to Bangkok and Dubai, people are lining up for hours to get their hands on the popular keyring doll.
In the UK, the Labubu hype has gone so far that its maker temporarily pulled the toys from all of its stores for “safety reasons,” following reports of customers fighting over them. In the Netherlands, the sole store where fans can buy the toys also had to hire extra security to manage the crowds, and Chinese customs authorities have intensified their efforts to prevent the dolls from being smuggled out of the country.
While the Labubu craze had slightly cooled in China compared to its initial peak, the character remains hugely popular and surged back into the top trending charts with the launch of POP MART’s Labubu 3.0 series in late April 2025 (which instantly sold out).
Following the global popularity of the Chinese game Black Myth: Wukong, state media are citing Labubu as another example of a successful Chinese cultural export—calling it ‘a benchmark for China’s pop culture’ and viewing its success as a sign of the globalization of Chinese designer toys.
But how ‘Chinese’ is Labubu, really? Here’s a closer look at its cultural identity and the story behind the trend.
The Journey to Labubu
In the perhaps unlikely case you have never heard of Labubu, I’ll explain: it’s a keyring toy with a naughty and, frankly, somewhat bizarre face and gremlin-like appearance that comes in various colors and variations. It’s mainly loved by young (Gen Z) women, who like to hang the toys on their bags or just keep them as collectibles.
The figurine is based on a character created by renowned Hong Kong-born artist Kasing Lung (龍家昇/龙家升, born 1972), whose work is inspired by Nordic legends of elves.

Kasung Lung, image via Bangkok Post.
Lung’s story is quite inspirational, and very international.
As a child, Lung immigrated to the Netherlands with his parents. Struggling to learn Dutch, young Kasing was given plenty of picture books. The picture books weren’t just a way to connect with his new environment, it also sparked a lifelong love for illustration.
Among Kasing’s favorite books were Where the Wild Things Are by Maurice Sendak and those by Edward Gorey — all full of fantasy, with some scary elements and artistic quality.
Later, as his Dutch improved, Kasing became an avid reader and turned into a true bookworm. The many fantasy novels and legendary tales he devoured planted the seed for creating his own world of elves and mythical creatures.

Kasing as a young boy on the right, and one of his children’s illustration books on the left.
After initially returning to Hong Kong in the 1990s, Lung later moved back to the Netherlands and eventually settled in Belgium.
Following a journey of many rejections and persistence, he began publishing his own illustrations and picture books for the European market.

Image via Sina.
In 2010, Hong Kong toy brand How2work’s Howard Lee reached out to Lung. One of How2work’s missions is cultivating creative talent and supporting the Hong Kong art scene. Lee invited Kasung to turn his illustrations into 3D, collectible figurines. Kasung, a collector of Playmobil figures since childhood, agreed to the collaboration for the sake of curiosity and creativity.
Lung’s partnership with How2work marked a transition to toy designer, although Lung also continued to stay active as an illustrator. Besides his own “Max is moe” (Max is tired) picture book, he also did illustrations for a series by renowned Belgian author Brigitte Minne (Lizzy leert zwemmen, Lizzy leert dansen).
A few years later, Lung introduced what would become known as The Monsters Trilogy: a fantasy universe populated by elf-like creatures. Much like The Smurfs, the Monsters formed a tribe of distinct characters, each with their own personalities and traits, led by a tribal leader named Zimomo.
With its quirky appearance, sharp teeth, and mischievous grin, Labubu stood out as one of the long-eared elves.
When Labubu Met POPMART
Although the Labubu character has been around since 2015, it took some time to gain fame. It wasn’t until Labubu became part of POP MART’s (泡泡玛特) toy lineup in 2019 that it began reaching a mass audience.
POP MART is a Chinese company specializing in artsy toys, figurines, and trendy, pop culture-inspired goods. Founded in 2010 by a then college student, the brand launched with a mission to “light up passion and bring joy,” with a particular focus on young female consumers (15-30 age group) (Wang 2023).
One of POP MART’s most iconic art toy characters—and its first major commercial success—is Molly, designed by Hong Kong artist Kenny Wong in collaboration with How2work.
Prices vary depending on the toy, but small figurines start as low as 34 RMB (about US$5), while collectibles can go as high as 5,999 yuan (US$835). Resellers often charge significantly more.

Pop Mart and its first major commercial success: Molly (source).
POP MART is more than just a store, it’s an operational platform that covers the entire chain of trendy toys, from product development to retail and marketing (Liu 2025).
Within a decade of opening it first store in Beijing, POP MART experienced explosive growth, expanded globally, and was listed on the Hong Kong Stock Exchange.
The enormous success of POP MART has been the subject of countless marketing studies, drawing various conclusions about how the company managed to hit such a cultural and commercial sweet spot beyond its mere focus on female Gen Z consumers.
🎁 Gamifying consumption | One common conclusion about the success of POP MART, is that it offers more than just products—it offers an experience. At the heart of the brand is its signature blind box model, where customers purchase mystery boxes from specific product lines without knowing which item is inside. Those who are lucky enough will unpack a special ‘hidden edition.’ Originating in Japanese capsule toy culture, this element of surprise gamifies the shopping experience, makes it more shareable on social media, and fuels the desire to complete collections or hunt for rare figures through repeat purchases.
🌍 Creating a POP MART universe | Although POP MART has partnerships with major international brands such as Disney, Marvel, and Snoopy, it places a strong focus on developing its own intellectual property (IP) toys and figurines. In doing so, POP MART has created a universe of original characters, giving them a life beyond the store through things like collaborations, art shows and exhibitions, and even its own theme park in Beijing.
💖 Emotional consumption | What makes POP MART particularly irresistible to so many consumers is the emotional appeal of its toys and collectibles. It taps into nostalgia, cuteness, and aesthetic charm. The toys become companions, either as a desktop buddy or travel buddy. Much of the toys’ value lies in their role as social currency, driven by hype, emotional gratification, and a sense of social bonding and identity (Ge 2024).
The man behind POP MART and its strategy is founder and CEO Wang Ning (王宁), a former street dance champion (!) and passionate entrepreneur with a clear vision for the company. He consistently aims to discover the next iconic design, something that could actually rival Mickey Mouse or Hello Kitty.
In past interviews, Wang has discussed how consumer values are gradually shifting. The rise of niche toys into the mainstream, he says, reflects this transformation. Platforms like Douyin, China’s strong e-commerce infrastructure, and the digital era more broadly have all contributed to changing attitudes, where people are increasingly buying not for utility, but for the sake of happy moments.
While Wang Ning dreams of a more joyful world, he also knows how to make money (with a net worth of $20.3 billion USD, it was actually just announced that he’s Henan’s richest person now)—every new artist and toy design under POP MART is carefully researched and strategically evaluated before being signed.
Labubu’s journey before its POP MART partnership had already shown its appeal: Kasing Lung and How2Work had built a small but loyal fanbase pre-2019. But it was through the power of POP MART that Labubu really reached global fame.
Labubu: Most Wanted
Riding the wave of POP MART’s global expansion, Labubu became a breakout success, eventually evolving into a global phenomenon and cultural icon.
Now, celebrities around the world are flaunting their Labubus, further fueling the hype—from K-pop star Lisa Manobal to Thai Princess Sirivannavari and Barbadian singer Rihanna.
In China, one of the most-discussed topics on social media recently is the staggering resale price of the Labubu dolls.

Third edition of the beloved Labubu series titled “Big into energy” (Image via Pop Mart Hong Kong).
“The 99 yuan [$13.75] Labubu blind box is being hyped up to 2,600 yuan [$360]” (#99元Labubu隐藏款被炒至2600元#), Fengmian News recently reported.
Labubu collaborations and limited editions are even more expensive. Some, like the Labubu x Vans edition, originally retailed for 599 yuan ($83) and are now listed for as much as 14,800 yuan ($2,055).
Recently, Taiwanese singer and actor Jiro Wang (汪东城) posted a video venting his frustration over scalpers buying up all the Labubus and reselling them at outrageous prices. “It’s infuriating!” he said. “I can’t even buy one myself!” (#汪东城批Labubu黄牛是恶人#).
One Weibo hashtag asks: “Who is actually buying these expensive Labubus?” (#几千块的Labubu到底谁在买#).
Turns out—many people are.
Not only is Labubu adored and collected by millions, an entire subculture has emerged around the toy. Especially in China, where Labubu was famous before, the monster is now entering a new phase: playful customization. Fans are using the toy as a canvas to tell new stories and deepen their emotional connection, transforming Labubu from a collectible into a DIY project.

Labubu getting braces and net outfits – evolving from collectible to DIY project.
There’s a growing trend of dressing Labubu in designer couture or dynastic costumes (Taobao offers a wide array of outfits), but fans are going further—customizing flower headbands, adorning their dolls with tooth gems, or even giving them orthodontic braces for their famously crooked teeth (#labubu牙套#).
In online communities, some fans have gone as far as creating dedicated generative AI agents for Labubu, allowing others to generate images of the character in various outfits, environments, and scenarios.

Labubu AI by Mewpie.
It’s no longer just the POP MART universe—it’s the Labubu universe now.
“Culturally Odorless”
So, how ‘Chinese’ is Labubu really? Actually, Labubu is not ‘Chinese’ at all—and at the same time, it is very much a product of present-day China.
🌍 Not Chinese at all
Like other famous IP characters, from the Dutch Miffy to Japan’s Pikachu and Hello Kitty, Labubu is “culturally odorless,” a term used to refer to how cultural features of the country of invention are absent from the product itself.
The term was coined by Japanese scholar Koichi Iwabuchi to describe how Japanese media products—particularly in animation—are designed or marketed to minimize identifiable Japanese cultural traits. This erasure of “Japaneseness” helped anime (from Astro Boy to Super Mario and Pokémon) become a globally appealing and commercially successful cultural export, especially in post-WWII America and beyond.
Moreover, by avoiding culturally or nationally specific traits, these creations are placed in a kind of fantasy realm, detached from real-world identities. Somewhat ironically, it is precisely this neutrality that has made Japanese IPs so distinctively recognizable as “Japanese” (Du 2019, 15).
Many Labubu fans probably also don’t see the toy as “Chinese” at all—there are no obvious cultural references in its design. Its style and fantasy feel are arguably closer to Japanese anime than anything tied to Chinese identity.
When a Weibo blogger recently argued that Labubu’s international rise represents a more powerful example of soft power than DeepSeek, one popular reply asked: “But what’s Chinese about it?”
🇨🇳 Actually very Chinese
Yet, Labubu is undeniably a product of today’s China—not necessarily because of Kasing Lung (Hong Kong/Dutch/Belgian) or How2work (Hong Kong), but because of the Beijing-based POP MART.
Wang Ning’s POP MART is a true product of its time, inspired by and aligned with China’s new wave of digital startups. From Bytedance to Xiaohongshu and Bilibili, many of China’s most innovative companies move beyond horizontal product offerings or traditional service goals. Instead, they think vertically and break out of the box—evolving into entire ecosystems of their own. (Fun fact: the entrepreneurs behind these companies were all born in the 1980s, between 1983 and 1989).
In that sense, state media like People’s Daily calling Labubu “a benchmark of China’s pop culture” isn’t off the mark.
Still, some marketing critics argue there’s room for more ‘Chineseness’ in Labubu and POP MART’s brand-building strategies—particularly through collections inspired by Chinese heritage, which could further promote national culture on the global stage (Wang 2023).
Meanwhile, Chinese official channels have already begun positioning Labubu as a cultural ambassador. In the summer of 2024, a life-sized Labubu doll embarked on a four-day tour of Thailand to celebrate the 50th anniversary of China–Thailand diplomatic relations.

The life-sized mascot of a popular Chinese toy character, Labubu, visited Bangkok landmarks and was named “Amazing Thailand Experience Explorer” to boost Chinese tourism. Photo Credit: Facebook/Pop Mart, via TrvelWeekly Asia.
In the future, Labubu, just like Hello Kitty in Japan, is likely to become the face of more campaigns promoting tourism and cross-cultural exchange.
Whatever happens next, it’s undeniable that Labubu stands at the forefront of a breakthrough moment for Chinese designer toys in the global market, and, from that position, serves as a unique ambassador for a new wave of Chinese creative exports that resonate with international audiences.
For now, most Labubu fans, however, don’t care about all of that – they are still on the hunt for the next little monster, and that’s enough to keep the Labubu hype burning.🔥
By Manya Koetse
(follow on X, LinkedIn, or Instagram)
References (other sources included in hyperlinks)
• Du, Daisy Yan. 2019. Animated Encounters: Transnational Movements of Chinese Animation, 1940-1970s. Honolulu: University of Hawaii Press.
• Ge, Tongyu. 2024. “The Role of Emotional Value of Goods in Guiding Consumer Behaviour: A Case Study Based on Pop Mart.” Proceedings of the 5th International Conference on Education Innovation and Philosophical Inquiries. DOI: 10.54254/2753-7048/54/20241623.
• Liu, Enyong. 2025. “Analysis of Marketing Strategies of POP MART,” Proceedings of the 3rd International Conference on Financial Technology and Business Analysis DOI: 10.54254/2754-1169/149/2024.
• Wang, Zitao. 2023. “A Case Study of POP MART Marketing Strategy.” Proceedings of the 2023 International Conference on Management Research and Economic Development. DOI: 10.54254/2754-1169/20/
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China ACG Culture
10 Viral Chinese Phrases You Didn’t Know Came From Video Games
Gaming lingo isn’t just for players — it’s become part of modern-day Chinese language.

Published
3 weeks agoon
May 27, 2025
China has a thriving gaming culture with far-reaching impact — not just on pop culture, but on language too. Even those who aren’t into gaming inevitably use expressions that come from it. RealTime Mandarin’s Andrew Methven explains.
It might be an unexpected source, but online gaming has had a significant impact on the evolution of modern Chinese slang. Words and expressions that once appeared in gaming chat rooms or livestreams have made their way into mainstream media, business headlines, and even government rhetoric.
Let’s take one recent news story as an example: the ongoing competition between Chinese tech giants JD.com (京东) and Meituan (美团), where headlines describe the rivalry using the term “PK.”
📰 “JD “PK” Meituan: Who will dominate the trillion-yuan instant retail market?” (“京东PK美团,谁能主宰万亿即时零售市场”)
The term “PK” stands out because it’s not Chinese characters. “PK” is one of those Chinese phrases which originated from online gaming—from an imported video game—and is now common in spoken language and news coverage.
The phrase began life in the early 1990s, when text-based online games were popular in China. Those early computer games were mainly imports, and with them came the English language gaming slang.
“PK” originally was how player deaths were described in these games, meaning a “Player Kill”, to be killed by another in-game player, as opposed to a non-player character.
“Player Kill” morphed into “PK”, which is much easier to pronounce for Chinese speakers, and became common in Chinese language gameplay.
The term made its way into daily language, originally as a noun, and later evolved into a verb, with different meanings depending on context, such as to “challenge”, “defeat”, “kill”, or “eliminate”.
In the context of the battle between JD and Meituan, “PK” in the title of the news story can be translated as “vs”, “challenges” or “battles”.
“PK” is just one of many modern slang terms in Chinese which have come from online gaming, some of which we’ll share below.
But before that, even more surprising, is which games these phrases come from.
Most phrases come from a small number of blockbuster foreign games popular in China. The three main ones are:
- League of Legends (英雄联盟): developed by Riot Games, entered China in 2011 through Tencent (China’s largest gaming company).
- World of Warcraft (魔兽世界), released in 2004, entered China in 2005 under NetEase, another top gaming company in China.
- Dota 2 (刀塔), the full title is Defense of the Ancients 2, which was developed by Valve and launched in 2013 and localised for the China market by Perfect World (完美世界) in the same year.
In more recent years, two homegrown Chinese video games have also generated more online slang phrases which have then gone mainstream:
- Honour of Kings (王者荣耀), is one of the most popular mobile multiplayer online battle arena games in China, developed by Tencent, released in 2015
- Black Myth: Wukong (黑神话:悟空) is an action role-playing game developed by the Chinese studio, Game Science. Released in 2024, Black Myth is China’s most successful video game ever.
Of these two, Honour of Kings has became so popular that it has its own slang title: “pesticide”.
The word for pesticide in Chinese is “农药” (nóng yào), which has a similar pronunciation to the word for “honour” (荣耀 róng yào) from the game’s title. So the game is jokingly called “pesticide” by its fans.
In more recent years, the term “pesticide” has taken on a darker tone, meaning the gaming industry as a whole. It’s often used in government narratives pejoratively to draw attention to the negatives of gaming, as a poisonous “spiritual opium” (精神鸦片).
Despite official pushback—including limits on how many hours children can play online each day, restrictions on gaming companies, and increasingly negative rhetoric—online games still play an important role in everyday life and language in China today.
So here’s a top 10 trending internet slang words you probably did not know came from online gaming (these have also been featured in previous Realtime Mandarin episodes).
TWO-CHARACTER PHRASES:
1. 氪金 kè jīn
🔍 “Spending virtual money” — over-spending online, or being tricked into online purchases
👉 氪金的实质是一种炫耀性消费,粉丝凭借大量氪金的经济实力攀爬权力阶梯
Spending virtual cash is a kind of ‘show off consumerism’ – the more fans spend the higher they climb within fan groups.
📝Background: In the gaming context, this means “in-game purchasing” or paying for virtual goods in online games. This term was popularised by the phrase, “24K Pay-to-win Dog Eyes” (24K氪金狗眼), where “氪金” means spending large amounts of money on rare in-game items. In mainstream Chinese it means spending lots of money online, and even being conned into online or in-app purchases.
Source: World of Warcraft (魔兽世界)
In context: Gaming stocks lose $80 billion in one day
2. 冲塔 chōng tǎ
🔍 “Attack the tower” — challenge or protest against those in authority
👉 通过在公司内网“冲塔”的方式声援该名员工
Other employees showed solidarity with her through protesting on the company’s internal web.
📝Background: This literally means “charging the tower”. In gaming it refers to a reckless move where a player, not yet strong enough, attacks a defense tower, often resulting in their own defeat. As an internet slang it means “asking for trouble” and now describes provocative actions or statements that challenge authority or censorship.
Source: League of Legends (英雄联盟)
In context: Our favourite phrases of 2021
3. 上头 shàng tou
🔍 “Gone in the head” — obsessed, addicted
👉 这个产品会上瘾,太有毒、上头了
This product is very addictive, users have become obsessed.
📝Background: In gaming lingo, this describes a moment of impulsiveness or being irrational, and a situation where a player, after achieving several kills, becomes over confident, ignores potential risks, and charges ahead—usually resulting in their death. In modern Chinese, the phrase has come to describe any impulsive or irrational behaviour driven by emotion or excitement, and even to become addicted to something.
Source: Defence of the Ancients 2 (刀塔 2)
In context: Catching Sheep: A new computer game with an old format takes off
4. 团灭 tuán miè
🔍 “Total wipeout” — complete or total failure
👉 最坏的情况下,储能在美国的业务会被“团灭”
In the worst-case scenario, the energy storage business in the U.S. will be totally wiped out.
📝Background: In gaming this means the complete defeat of an entire team during a group battle or raid, where all members are killed. In modern Chinese it describes any collective failure or complete annihilation of a group, sector, or even industry.
Source: World of Warcraft (魔兽世界), League of Legends (英雄联盟)
In context: China’s exporters are feeling the pain
5. 破防 pò fáng
🔍 “Guard break” — emotionally overwhelmed
👉 网友们瞬间集体破防
Netizens were instantly overwhelmed.
📝Background: Originally from fighting games, this phrase’s direct translation is “guard break”, which means to break through an opponent’s defences (“破” means “break”; “防” means “defences”). As a modern internet slang, it means to be emotionally overwhelmed, to burst into tears, or to feel devastated. It’s normally used humorously or in an exaggerated way. The phrase became so popular it was voted one of China’s top internet slang phrases in 2023.
Source: Unknown
In context: Crashing stock markets, 31 July
6. 秒杀 miǎo shā
🔍 “Instant kill” — totally wiped out, flash sale, to snap up
👉 最近频繁刷到烤全羊秒杀套餐的钱怡,考虑再三过后还是被这个超低价给劝退了
Recently, Qian Yi kept seeing flash sale deals for whole roasted lamb, but she was discouraged by the ultra-low price after much thought.
📝Background: The direct meaning is to “kill in seconds” (“秒” is “seconds; “杀” is to “kill”). In gaming it means to kill an opponent or a monster in an instant, using a single skill or physical attack. As a mainstream slang phrase, it can mean something similar, to beat, overwhelm, or wipeout a competitor in a very short time. It has more recently evolved into a common phrase heard in livestream e-commerce broadcasts, where products are sold within a short time period—which translates as “flash sale”.
Source: Red Moon (红月)
In context: Meituan “group take-out” boom signals shifting consumer habits
THREE-CHARACTER PHRASES:
7. 带节奏 dài jié zòu
🔍 “Set the tempo” — to mislead public opinion (against the interests of China)
👉 不能由个别国家的单边主义给整个世界“带节奏”
We must not let the rules set by one or a few countries be imposed on others, or allow unilateralism pursued by certain countries to set the pace for the whole world (against the interests of China).
📝Background: Originally translated as “set the tempo”, this phrase was first popularised by game commentators as they described how experienced players would take the lead, organise their team, and execute coordinated attacks—which was known as “starting a wave of tempo” (“带一波节奏”). Over time, the term expanded beyond gaming into broader internet slang. It even made its way into official Chinese government rhetoric, used by its “Wolf Warrior” diplomats to mean “steering or influencing public opinion against the interests of China.”
Source: Defence of the Ancients 2 (刀塔2)
In context: Our favourite phrases of 2021
8. 拉仇恨 lā chóu hèn
🔍 “Pull hatred” — to attract criticism, or provoke resentment
👉 丁太升其实不是第一个骂的,只不过这人确实自带流量,也自带拉仇恨属性
Ding Taisheng is actually not the first one to criticise the song, but he has a big profile and what he says attracts a lot of criticism.
📝Background: This original meaning is when a player deliberately draws attention from and attacks by monsters in a game, by increasing their own “aggro” or “hate”. In these games, monsters choose their targets based on each player’s level of hate—the higher the level, the more likely a player is to be attacked. So in team battles, one teammate intentionally “pulls aggro” (拉仇恨) to draw the enemy’s attention, allowing others coordinate their attacks while the enemy is distracted. In modern Chinese, this is now commonly used to describe people who provoke resentment or jealousy—such as flaunting a romantic relationship, or showing off wealth or superiority.
Source: Unknown
In context: Pop singer is too tacky
9. 血槽姐 xuě cáo jiě
🔍 “Blood bar sister” — elites who abuse power and privilege for personal gain
👉 昨天开始,一位来自上海的余小姐,因为遭遇一场严重车祸后逃出生天,而火遍全网,进而竟获封“血槽姐”这个让人浑身不适的称号
Since yesterday, Miss Yu, a woman from Shanghai, has gone viral across the internet after surviving a severe car accident. She has since been given the disturbing nickname “Blood Bar Sister”
📝Background: The health bar, or “blood bar” (血槽 xuě cáo) in Chinese, first appeared in the 1978 arcade game Space Invaders (太空侵略者). The first graphical health bar emerged in the 1980 game Space Warrior (太空战士). Since then, the “health bar” has been a key feature in many games, offering a visual on a character’s health. The term “health bar” became part of a viral meme in November 2023, following a scandal involving a woman who became known as “blood bar sister” (血槽姐), after she shared a video online explaining how she used a powerful relative to force local officials in the Tibetan region of Ali to donate blood to her following her injury in a car crash. The “Blood Bar Sister” meme has since evolved into a more general term, representing the abuse of power and the over privilege of China’s elite.
In context: ‘Sister Blood Points’ Controversy
10. 黑神话 hēi shén huà
🔍 “Black myth” — legendary, a stunning or sector-leading success
👉 胖东来这家河南本土超市,早已成了商超领域的“黑神话” –
Pangdonglai, this local supermarket from Henan, has already become a legendary success in grocery retail.
📝Background: This is a reference to the title of China’s most successful video game ever, Wukong: Black Myth, which was released in August 2024. Its popularity was so great that the phrase “black myth” (黑神话) has taken on its own meaning as a stunning or “legendary” success of a product or company in a particular sector, which has shot to fame out of nowhere.
Source: Black Myth: Wukong
In context: Local shopping mall builds national brand
Other gaming phrases you should know:
As well as these ten phrases, all of which have now entered mainstream use, there are many more common Chinese phrases which have come from video games. Including:
● PK pī kēi — to battle
● GG gī gī — I’m done for, or it’s over
● 完爆 wán bào — totally outperform
● 农药 nóng yào — poisonous computer games (“pesticides”)
● 开挂 kāi guà — achieving something amazing or unbelievable
● 毒奶 dú nǎi – when positive words backfire
● 满血复活 mǎn xuě fù huó — significant recovery in physical or mental state
● 6666 (溜溜溜溜) liù liù liù liù — awesome, well played
So now you know—these expressions, along with many others, are Chinese “hot internet slang phrases” (网络热词) that originated in video games and have since entered widespread mainstream use.
If you want to ‘level up,’ subscribe to RealTime Mandarin, the resource to help you bridge the gap to real-world fluency, stay informed about China, and communicate with confidence in Mandarin.
By Andrew Methven
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Ben
November 16, 2018 at 10:33 am
In the picture for “#18 Heaven’s Above (苍天在上)”, the character seems to be holding a smartphone – possibly an iPhone given what looks to be an apple on the back side. That would be anachronistic for a 1995 series I think?
Admin
November 16, 2018 at 10:41 am
Well spotted, Ben! You’re right! That was an image from a modern remake mini-series of Heaven’s Above (苍天在上), not the 1995 version. We’ve now replaced with an image from the original show. Thanks for the heads up 🙂
autraka
November 22, 2018 at 6:59 am
Wish you included 武林外传、还珠格格 and more TV dramas based on 金庸‘s novels.
Brown
January 2, 2019 at 10:58 am
Chinese TVs set in Qing Dynasty are an amazing series for me. I love the Story of Yanxi Palace especially. I have found the top 10 related Qing Dynasty TVs from here
https://chinausual.com/top-10-chinese-tv-series-set-in-qing-dynasty/
Jason
February 23, 2019 at 9:57 am
Actually “White Deer Plain” 白鹿原 is in Shaanxi(陕西). Not Shanxi(山西)。