Asia’s popular culture wave that for two decades has been dominated by two giants. South Korea with its K-Pop wave and dramas, and Japan with its manga and anime, which is now undergoing a fundamental shift. A new force that is tough and colorful has risen from China, not through idol groups or ninjas, but through a small figure with pointed ears and a mysterious smile named Labubu. This figurine by Hong Kong artist Kasing Lung is not just a toy but the spearhead of a huge wave of Chinese popular culture that is ready to challenge and even dictate global tastes. Labubu and his predecessors and companions raise provocative questions about whether we will soon say goodbye to the dominance of K-Pop and manga.
Labubu, as a character from The Monsters line by the Pop Mart brand, is a real example of how China combines the power of storytelling, design, and a brilliant business model. Pop Mart, which was founded in 2010, has transformed into a multi-billion-dollar blind box empire. In 2022, the company reported operating income of 4.62 billion RMB yuan, or around 679 million US dollars, with a net profit of 539 million RMB yuan, equivalent to 79.3 million US dollars. Its global growth is even more astonishing, with revenue in overseas markets soaring 147.1 percent in the same year. As of June 2023, Pop Mart has opened more than 500 stores in 23 countries and regions, including fashion centers such as Paris, London, and New York. Global market research institute Frost & Sullivan explained that Pop Mart successfully leverages consumer psychology through a blind box model that creates a sense of anticipation, collection, and community. This model is more than just a toy; it is a social and cultural experience that changes the way people interact with cultural products.
When compared to Korean and Japanese popular cultural commodities, there are fundamental differences in business models and accessibility. The Japanese industry is based on long and complex narrative stories such as manga and anime, where consumers invest time and emotions to follow a series. The merchandise is often expensive and aimed at serious collectors. While South Korea focuses on idolization through K-Pop, where fans not only buy music but also merchandise, concert tickets, and albums in various versions to support their idols. These ecosystems are built around human stars. On the other hand, Chinese products such as Pop Mart and Labubu are more abstract and decorative. Consumers don’t need knowledge of complicated stories to have them. The price is relatively affordable, around 15 to 30 US dollars per box, so it is impulsive and easily accessible to Generation Z and millennials. This is a lighter and more visual form of cultural consumption.
In terms of global impact and cultural adaptation, K-Pop and Korean dramas have managed to export Korean values, fashion, and language to the rest of the world through the Hallyu wave with cultural ambassadors such as BTS and Squid Game. Japanese manga and anime became the foundation of global subcultures such as cosplay and conventions that influenced artists and filmmakers in the West for decades. Chinese pop culture for now exports less specific Chinese lifestyles and focuses more on aesthetics and business models. People buy Labubu because its designs are unique and funny, not because it represents a specific Chinese mythology, even though some characters are inspired by it. It is a subtle globalization of products with universally accepted Chinese design DNA. The role of the government is also a crucial differentiator. China’s National Bureau for Cultural Exports and Imports actively encourages the export of cultural products as part of the national soft power strategy. Meanwhile, Korean and Japanese industries are driven by private companies with government support that is more facilitative.
Labubu is just a symptom of a larger creative ecosystem that is exploding in China. Donghua, or Chinese animations, such as The King’s Avatar and Mo Dao Zu Shi, have a huge fan base and compete directly with Japanese anime on streaming platforms, with the number of views reaching billions. Novel web platforms such as China Literature have become repositories of intellectual property, with millions of titles adapted into dramas and successful games, creating vertical synergies resembling the Marvel Cinematic Universe. The mobile gaming industry in the hands of Tencent and NetEase is becoming a global giant. Games like Genshin Impact from miHoYo or HoYoverse are not only financially successful, with annual revenues reaching billions of dollars, but also win the hearts of global players through the quality of animation and awesome stories with a distinctively Chinese twist.
Ultimately, the rise of Chinese pop culture is not a sign to say goodbye to K-Pop and manga. This wave is precisely a powerful new challenger that is diversifying and democratizing global tastes. The market now has more options where a fan can love Korean dramas, collect Labbubu figurines, and play Genshin Impact and still look forward to the latest manga chapters at the same time. The dominance of popular culture is no longer held by just one or two countries. Labubu and its ecosystem are symbols of a new era where China is no longer a follower of pop culture trends but rather a trendsetter. They have learned the recipe for success from Japan and Korea in terms of content quality, merchandising, and fan community and added manufacturing strength, innovative business models, and strong state support. This is not a war to be won, but rather an evolution in which the global pop culture stage is expanded with new players full of confidence. The right greeting is not goodbye, but welcome to competition. For fans around the world, this is good news because there will always be more interesting things to love.