Illustration: Liu Xiangya/GT

Online novels, online dramas, and online games are considered the "three carriages" that have brought contemporary Chinese culture overseas in recent years. 

Fully absorbing China's excellent traditional culture, they make use of the methods that young people love, and have caused countless fans around the world to fall in love with them.

The new Chinese drama, or C-­drama, series Love Game in Eastern Fantasy, starring Yu Shuxin, Ding Yuxi, Zhu Xudan, and Yang Shize, has become a hit both domestically and ­internationally by presenting a story that combines these three "carriages." 

It has hit streaming sites such as Netflix, Chinese platform ­Tencent Video and more since ­November 1.

With the innovative setting of entering a fantasy novel and a game world setting, it did attract a large number of young global audiences. 

The series was adapted from the very popular web novel The Guide to ­Capturing a Black Lotus by writer Baiyu Zhai Diaogong, which has quite a number followers. 

The show tells the story of a mischievous girl, Ling Miaomiao, who accidentally enters the game world of the ­novel ­Monster ­Hunting and ­becomes a villainous character. To return to the real world, she must ­complete quest: win over a ­mysterious and twisted young man. 

Along the way, they team up with  monster hunters. Together, they fight monsters and level up.  

As the missions progress, they gradually resolve animosity between humans and monsters, rewrite a fated ending, and save the world.

With a modern approach that the world's Gen Z love, the TV series also leads global audiences into a world where fiction and reality coexist. 

In terms of aesthetic presentation, the series is rich in traditional cultural heritage, while the collision of ancient and modern elements radiates new vitality. 

It shows a world in traditional fantasy novels where monsters and humans coexist, as well as the endless imagination of traditional culture.

From costumes to the sets, the TV series incorporates elements of ­intangible cultural heritage, and has become a new highlight for cultural ­exports, showing the world the broad and profound charm of Chinese culture. 

As a cultural carrier, film and ­television dramas not only allow ­audiences to experience the art of audio-visual expression, but also represent cultural heritage.

The creative team took careful consideration with the world building, striving to achieve breakthroughs in conceptual expression and aesthetics and aiming to convey the profound cultural heritage and innovative spirit through every frame. 

Promotional material for Love Game in Eastern Fantasy Photo: Courtesy of Tencent Video

In Love Game in Eastern Fantasy, through in-depth understanding of the world and plot, they created a real, layered and imaginative world. It's a ­fantasy world with a solid logical system.

Besides this, the TV series extends the idea of "harmonious coexistence of man and nature." 

The so-called "monsters" in the show range from dust demons to water demons and ­bamboo demons. They are reflections of all things in nature. They have their own emotions and moods. 

In the interaction between humans and monsters, both ­gradually let go of their prejudices against each other and reached ­empathy and understanding. 

In the series, there is one scene full of impressive details. When Ling heads deep into the monster world to ­complete her mission, she ­encounters a little monster who is being hunted by humans. 

Although she is a "monster hunter," when faced with the helpless little demon, Ling does not stand by and do nothing, instead she stands up and protects it. 

These stories not only show the good nature of human beings, but also convey the positive values of tolerance and understanding.

The series has an 8.5/10 on rating sites IMDB, a 9.4/10 on Rakuten Viki and a 7.5/10 on Chinese rating site Douban. 

"I have only watched a few episodes and ... I'm obsessed with this drama," said a viewer from Southeast Asia, among an increasing number of global audiences looking forward to the latest episodes of the TV series on ­international platforms.  

Different from the simple and direct introduction of documentaries, creative TV series have opened a window for overseas audiences to view fine Chinese culture, and furthermore helped raise their interest in learning more.

Gen Z audiences not only are willing to watch these series but also eager to exchange their views and discuss them.

The author is a reporter with the Global Times. life@globaltimes.com.cn