Chinese cultural IPs are gaining widespread popularity across Europe, crossing geographical boundaries and winning over local audiences. Spanning designer toys, animated films and video games, these cultural products have become fresh bridges connecting European audiences—especially younger generations—with Chinese culture.

Customers browse products at Pop Mart's first retail store in Germany. (Photo: Liu He/ People's Daily)

The first retail store of the Chinese toy brand Pop Mart, located near Alexanderplatz in Berlin, has seen a steady influx of customers since its opening last year. One of its most popular products, Labubu, has gone viral and become a trending topic on local social media.

"I first got interested after watching Labubu unboxing clips on TikTok," said a 23-year-old college student from Hamburg. For many young Europeans, the thrill of opening a blind box and discovering a surprise inside is part of what makes Chinese designer toys so appealing.

Today, countless young European consumers are discovering Chinese cultural products through social media. According to data from the German Association of the Toy Industry (Deutscher Verband der Spielwarenindustrie), IP-themed toys account for around 28 percent of Germany's toy market. In contrast, demand for toy collectibles continues to rise. This trend closely aligns with the growing phenomenon of "kidulting"—adults embracing childlike hobbies and consumption patterns.

These evolving consumer habits have provided fertile ground for Chinese cultural IPs to expand in Europe. Interviewees shared various reasons for their fondness. Some love collecting the figurines for their quirky yet endearing looks that win them over at first sight. Others pointed out that designed as bag charms, blind box accessories can easily be taken on the go, offering a stylish way to showcase their unique personalities when paired with different outfits. Though their reasons vary, all consumers share the same eager anticipation of getting their favorite pieces.

The growing popularity of Chinese cultural IPs has translated directly into rising sales. Pop Mart, for example, reported total revenue of 37.12 billion yuan (about $5.48 billion) in 2025, up 184.7 percent year-on-year. Revenue from Europe surged even faster, rising by 506.3 percent.

Labubu's success is just one example of a broader trend. Today, original Chinese IPs in animation, film and online gaming are increasingly becoming gateways for European audiences to learn about and engage with China.

In 2025, the Chinese animated blockbuster Ne Zha 2 topped the global animation box office with worldwide revenue reaching nearly 15.95 billion yuan ($2.36 billion). German audiences praised the production, noting that the film offers breathtaking visuals with a dramatic plot. Many admitted that the exceptional craftsmanship of modern Chinese animation has fundamentally reshaped their perceptions.

One European film critic commented that Ne Zha 2 successfully blends the essence of traditional Chinese culture with modern storytelling. They added that it preserves the unique charm of Eastern culture while matching global expectations, allowing European viewers to experience the depth of Chinese culture while enjoying an entertaining film.

Video games have also emerged as another cultural vessel carrying Chinese IPs overseas. At Gamescom 2025, the world's largest gaming expo held in Cologne, Germany, Chinese gaming products attracted considerable attention.

Chinese video game development studio Game Science unveiled Black Myth: Zhong Kui during the exhibition's closing showcase trailer presentation, positioning it as the next major title following Black Myth: Wukong. It marked the first time a Chinese game appeared as the final presentation at a top-tier international gaming exhibition.

The popularity of Chinese games has also fueled growing curiosity among younger Europeans about Chinese culture. On overseas gaming forums, players have actively explored Chinese classics while discussing games. Many have begun reading works such as Journey to the West, searching for historical and cultural materials, and discussing concepts such as heavenly palaces and dragon kingdoms, demonstrating a growing interest in traditional Chinese culture.

The global rise of Chinese cultural IPs is far from accidental. Rather, it reflects the emergence of an increasingly complete ecosystem that integrates design, manufacturing, content creation, cultural adaptation and consumer psychology into a new model for global expansion.

German retail expert Ghalia Boustani believes Chinese companies have achieved "emotional resonance and cultural identification" with overseas consumers through IP exports. She argues that this approach accurately matches younger consumers' demand for individuality and emotional connection, an important reason why Chinese cultural IPs have gained traction across Europe.

Innovative storytelling formats, advanced technology and superior production quality are also key driving forces. Ne Zha 2 took over five years to complete, involving more than 4,000 creators and nearly 2,000 visual effects shots, and demonstrated strong attention to detail throughout the production. The development of Black Myth: Wukong spanned more than six years, with the team investing heavily in art production to deliver premium visuals and production.

Behind these successes stands an increasingly mature industrial ecosystem. From IP creation and product manufacturing to marketing and distribution, coordination across the entire value chain has enabled the successful introduction of Chinese cultural products overseas.

Pop Mart illustrates this strength well. The company collaborates with artists worldwide and operates a diverse portfolio of IPs with different styles and audiences.

Supported by increasingly solid industrial capabilities and a vast domestic market, China is gradually becoming a global hub for original, creative IPs. Meanwhile, more homegrown creations will continue to travel across borders, delighting audiences along the way.