In the same digital ecosystems in which the explicit content of Boylove (BL) brings to high -profile arrests and fervent wars of fans, the literature Girllove (GL) faces a completely different challenge: the creator of readers. Although the love between people of the same sex is also interpreted, the Gl novels are rarely adapted in influential hit or webtoon TV series.
According to a study by Dr. Wenqian Zhang of the University of Exeter, only three novels Gl entered the top 200 on the main Chinese romantic narrative platform, Jinjiang Literature City. On the contrary, over 430,000 BL stories have been loaded, many of which are adapted to dramas, comics or even traditional games. The remarkable successes include The wild AND Custodianwho not only dominated the graphs of the public but also launched their main actors in celebrities.
Girllove’s lack of momentum
The stories of GL, in comparison, have produced few culturally impact works. When they have adapted, they are often equipped with minimum budgets, poor promotion and limited spectators. The cultural critic li duodao claims that this discrepancy does not only concern the quality of the story is systemic.
BL thrived in support of a powerful and organized fan base, mainly young women aged between 16 and 25, known as “Fujoshi” or “Hù nǚ” in China. These fans actively participate in the creation of Fanfic, in sales of goods, cosplay and social media campaigns. On the contrary, GL lacks a similar community. His audience is fragmented – compensates a small mix of women, men’s otaku and female idols – and not considerable enough to form a stable market.
The cultural gaze and female cancellation
In addition to market dynamics, gender roles in literature and the media influence this imbalance. Blue narratives often benefit from cultural archetypes such as “brotherhood” or “sworn loyalty”, allowing the stories to sneak the censorship of the past under the remains of the Platonic affection. GL does not have a historical or cultural camouflage.
Traditional Chinese literature rarely hits female ties. Women are commonly portrayed in relation to men, such as wives, mothers or concubines. Even the imaginary “sisters” lack an iconic position. This absence in the fundamental narrative deprives the narrative paintings that resonate throughout the public.
No “Savior narrative” for the brigs
Sociologists suggest another layer of complexity: for many women, consuming BL is a psychological escape. As described by the Japanese feminist Chizuko Ueno, traditional heterosexual novels often strengthen the “male gaze”, which start women mainly through a lens that objects them. BL, on the contrary, allows women to enjoy love stories without remembering their objectification.
GL does not offer the same relief. Even in narratives focused on women, the internalized male gaze can persist, preventing real evasion. According to Ueno, “In a patriarchal society, women unconsciously evaluate other women through rigid gender lenses. Gl does not dismantle the male gaze, often reflects it.”
The massive disparity between the blue genres derives from deeper problems than simple preference. From the market structure and from the demographic data of readers to the centuries of gender narration and rooted cultural distortions, the path for GL remains significantly more demanding.
ZNEWS
