Telling Your Toy Story: Fans’ Storytelling Practice in Shanghai Disneyland
/This post is part of a themed series on toys that asked contributors to think about a toy/toys/toy company and explore how various cultures, groups, audiences, or companies find and make meaning (or money) through such play. The theme is purposefully open-ended, meant to be fun, and published throughout December to coincide with the holiday season.
It was a normal summer night in Shanghai, with humidity choking the air and no breeze to speak of. People were still at risk of heatstroke, even at night, so the once-bustling street was silent except for the sound of cicadas calling. At 4:00 in the morning, the quiet environment abruptly altered when a few people in colourful clothing appeared on the street. Remarkably, they weren't business travellers or barflies; instead, they were headed for a magical place — Shanghai Disneyland. Most of them own annual passes to Shanghai Disneyland and are big fans of the special Disney toy line “Duffy and Friends,” which is mostly seen and popular in East Asia. They were up so early to wait in line for hours in order to get their hands on limited series products and to see their adorable Disney friends inside the park. This might seem extraordinary, but it’s actually an everyday occurrence—let’s talk about it.
What is “Duffy and Friends”?
The “Duffy and Friends” story started in 2002 when Minnie Mouse made Duffy, teddy bear with a sailing costume, to accompany Mickey when he’s travelling. Now Duffy the Disney Bear has his own name and a seat in Disney’s corners and shops. The bear was not well-known when it first appeared in Shanghai Disneyland—hardly anybody recognized him, so the character simply wandered alone through the park. However, with constant exposure on social media and new friends joining the toy line, “Duffy and Friends” became one of the most profitable IPs in Shanghai Disneyland. To own some limited backpack pendants, some fans must pay more than six times the retail price; sometimes the cost of a single item can exceed 10,000 CNY ($1400), demonstrating the series' popularity and economic potential. The popularity peaked when the pink fox LinaBell joined the series in 2021. As a newly created character who was "born" in Shanghai Disneyland, LinaBell is seen as a gift from Disney to Chinese fans, and, in return, the Chinese fans do everything in their power to make LinaBell the "sales champion" of Disneyland. After entering the park, some fans wait in a queue for over nine hours to meet and engage with LinaBell for thirty seconds; outside it, other fans created a tonne of LinaBell memes and share them across the country to show off who their favorite Disney character is. Until now, Duffy and his six friends continue to be the most visually striking characters at Shanghai Disneyland, as seen by the long lines that form in front of their interactive attractions and the toy bags that visitors carry.
Duffy and Friends
Auction for “Duffy and Friends” Series Toys
In the “Duffy and Friends” toy line, every friend has unique characteristics and a representative colour, which inspires fans to imitate them and purchase corresponding goods. Walking into the theme park, you may see a lot of fans wearing just yellow, pink or green clothing and carrying character backpack pendants to display their fan identities. Sometimes, these fans will dress in similar costumes to characters, which can be seen as a kind of Disney bounding. Both Disney and fans themselves push this mimicking habit. When Halloween comes, character cosplay will be welcomed in Shanghai Disneyland. Unlike in Disney bounding, during this time fans don't have to pretend they aren't cosplaying the characters and can trick-or-treat with each other. The festive atmosphere will persist throughout the year, though in other seasons fans are not allowed to explicitly cosplay when entering the park. Many fans take on the role of fashion leaders, teaching others how to cosplay the characters without causing trouble for the company. The practice makes some of them big name fans in Disney fandom and contributes to a highly organized fan community.
Apart from being the most popular choice for Disney bounding in Shanghai Disneyland, Duffy and Friends' distinctive characteristics also cause considerable controversies within the fandom. In the Friends interaction attractions, different costumed actresses for the same character sometimes act out the characters in unique ways for the fans, who judge these performances. Some fans are sincere followers of performers rather than the Disney characters themselves; they will discuss who the performer in the toy costume is every day and occasionally express their dislike for the performance. When fans switched their focus to Hong Kong Disneyland, this contentious attitude escalated. Several fans expressed their displeasure on social media, complaining about Duffy and his friends' lack of concern for the tourists. The complaints exist on a small scale, but they highlight the importance of fan participation in this unique fandom—tourists have clear expectations about the series and what they can expect from their interactions with the characters.
The Bear is Yours: Fan Participation in Storytelling of the “Duffy and Friends” Series
Despite its phenomenal success, many fans continue to have doubts about the “Duffy & Friends” line because none of the characters are featured in Disney films or television programs. Disney seems to grant fans complete storytelling rights rather than providing a well-defined plot, which results in fan-created content appearing on Chinese social media, and there are no official plots released except for the seasonal advertisements. Apart from the seasonal commercials, fans may only see Duffy and his friends in the park and on social media. All of the stories and characteristics of the characters are produced by fans through content sharing and conversations in the fan community. The new media ecology, which incorporates people into a participatory culture as producers, users, and senders, gives fans multiple avenues for self-expression, which has helped this unique narrative mode (Diker & Taşdelen, 2019). It also promotes media literacy development, including the capacity to create and understand discourse as well as to engage in offline and online fan interaction. In Shanghai Disneyland, you can find young people taking photos of each other, as well as retired seniors enjoying time with their young friends and using phones or cameras to capture their favourite characters. Despite the stereotype that older men lag behind in the new media landscape, their enthusiasm for this magical world and the support of fellow fans allow them to keep up with the times. The strong fan community and the cost-effective annual card price of Shanghai Disneyland make it the backyard of every resident, a place where they can make like-minded friends, view performances, and even go for walks after dinner. As defined by Jenkins and colleagues, a participatory culture is one in which there are few barriers to artistic expression and civic engagement, people are encouraged to create and share, and newbies receive informal mentorship from experienced members (Jenkins et al., 2009). “Duffy and Friends” fans form a community of mutual aid that is open to all members and is heavily involved in the creation of character-related media content.
Fan taking a photo of Disney actress
“Soap Opera” acted out by tourists and Duffy’s friends
The prosperous idol industry, when applied to Disney characters, also incentivises more fans to participate in the Duffy toy line’s narrative. Within the fandom, there exist fans who engage in storytelling for leisure as well as professional fans who aim to make money off of it. Following the logic of idol fandom, these professional fans' practices expand the impact of some Disney productions in mainland China. The most well-known professional fan type is "Zhan Jie," sometimes referred to as "home masters" in the idol fandom, who snap pictures of their idols and share the images on social media (Zheng & Qing, 2023). Zhan Jie are also actively involved in the Disney fandom as productive fans; they are responsible for taking photos and videos of Duffy and his friends every day, telling the story of the characters’ daily life in Disneyland to fans who are outside this magic place. Thousands of fans follow this serialized fan production, participating in daily discussions and offering comments on each story point. Their recommendations can have a significant impact on the relationships between Duffy and his friends as well as how Zhan Jie interact with and film these characters, all of which helps the official producers and the corporation adjust the production to suit regional interests. In the toy line’s original story, Gelatoni was an artist cat friend whom Duffy met in Italy. However, when more people begin to think highly of Gelatoni, the cat became Mickey’s successor, a character who will eventually take over the amusement park, and began to have humorous arguments with Duffy. The characters’ shifting storylines emphasize the genre's adaptability and highlight the influence that readers have on the narrative. The practice resembles soap opera fandom bu involving fan performance (creative interpretations and role cultivation within the community), fan proselytizing, and fan criticism (Ford, 2008). Similar to soap operas, Disney may constantly add new characters and rewrite some of the toy line’s official stories, but the combined power of the fandom to alter the narrative itself is what allowed the “Duffy & Friends” series to become well-known in China.
It's noteworthy that Zhan Jie act as a sort of mediator between Disney fans and the firm, conveying some messages that aren't allowed to be shared through the official channels. After the Open Door Policy in 1978, Chinese media started to import foreign animation, allow foreign studios to challenge local companies, and signed a contract with Disney to allow their characters to appear on Chinese screens in the 1980s, but the censorship of Western media content is still harsh (Xu & Schirato, 2015). Disney's media content in China is restricted: certain popular films, like Spider-Man: No Way Home, Suicide Squad, and Deadpool, are not allowed to enter the Chinese market, and specific depictions of social issues, like LGBTQ+ rights, are deemed risky and removed from films, as they did in the 2022 release of Lightyear, the prequel to Toy Story(Soundar, 2024). In these circumstances, Zhan Jie, as professional fans, can use video clips, content interpretation, and the creation of videos featuring characters who aren't allowed to appear in media (but are present in Disneyland) to disseminate Disney’s most recent information via relatively unofficial channels. For instance, despite the film Turning Red (2022) being prohibited in China for indecent content, Mei, the lead character, is still allowed to perform at Shanghai Disneyland. This causes confusion for many visitors because they had never seen this character before. Professional fans’ interpretations and social media sharing helps more fans know the story of the movie and, in some perspectives, attract more fans to pay attention to the movie and its products in China.
Mei in Shanghai Disneyland
Toys in Different Stories: Collect and Decorate Disney Friends
Walking down the streets of Shanghai, you will find Duffy & Friends’ backpack pendants everywhere. The toys in the backpack pendants wear different costumes, such as the clothes of their owners' favourite anime characters or outfits with owner's names, which displays the owners’ strong personalities. This “Toy Cosplay” is a trend in Disney fandom and among those who don’t know the friends’ stories but just want to hang something on their bags, and it is common for young people to recognize one other through such toys and their costumes. Chinese fans seem to have a special preference for the practice of toy collection. In previous blogs, Jenkins (2023) introduced PopMart’s original character Molly, who ignited a fervor for collection in China. In Molly’s universe, she can cosplay other anime or movie characters, be an astronaut, or even transform into a different species. Such “toy cosplay” provides a chance for owners to change their identities in a convenient way. When seeing Molly standing at their table, students and workers get a momentary escape from reality and an opportunity to immerse themselves in an imaginary world. This explanation also works for “Duffy & Friends” fandom: in a society where the economy is growing quickly but spiritual needs are neglected, individuals look for tangible things to help them feel emotionally fulfilled.
Duffy and friends wear clothes from other universes
A standout feature of the “Duffy and Friends” toys is their changeable clothing. Once a fan has chosen their favourite bear from the Disney store, many start customizing their toys by purchasing or making costumes, for instance to celebrate certain holidays and seasons or to show off their personal aesthetics. While some people will hire tailors to make costumes, there are many fans who choose to sew these clothes themselves; they buy supplies and create patterns, spending a lot of time creating the ideal look for their cherished toys. The practice establishes a unique sartorial fandom focused around the "Duffy & Friends" series, in which fans discuss their experiences and practice their talents. In China, where practically everything is produced by factories, the handcrafted experience that this fannish practice offers is valuable. The fandom, or lifestyle, gives the “Duffy and Friends” series a new meaning while also allowing followers to explore who they are and take a vacation from their hectic existences.
Through the case of Duffy, we can see how important telling stories of these characters is to fans. The toys, and the actresses in toy costumes, are the core seed for fans to exert their imagination on, and for them to attract more fans to participate in their narratives. Duffy isn’t the only Disney character to have been influenced by toys. In the following sections, I'll go over how toys altered the original Disney characters' images in the case of Lotso and Mulan.
Welcome to “Lotso Universe”: An Unexpected Hit in China
Some Disney characters who didn't do well in the films also had opportunities to emerge as upstarts in Shanghai Disneyland. Toy Story 3 (2010)'s Lotso, the strawberry bear, is one such unexpected case. In the movie, Lotso is the ultimate villain; he was abandoned by his owner and tried to frame the other toys even though they saved his life. Even with this backstory, Lotso managed to become a superstar in China. In the city center of Shanghai, there is a gigantic Lotso bear sitting behind the window and a tonne of Lotso toys inside the Lotso-themed store. And in Shanghai Disneyland, you can see the strawberry bear in the “Meet Disney Friends” section. People will even yell the bear's name to express their affection for it in the Main Parade.
Lotso - themed store in Shanghai’s city center
One reason for Lotso’s success is the strong manufacturing power and an interesting Chinese marketing system. Since 2021, a famous Chinese product retailer called Minisocollaborated with Disney on Lotso, launching a series of daily life goods such as canvas bags, power banks, and table lamps at prices that the average person could afford. For instance, a water bottle with the Lotso picture costs just 23 CNY ($3). Customers' curiosity about the character was definitely piqued by the reasonably priced products and Lotso's endearing appearance; as soon as the product series debuted, the strawberry bear was seen all across China. However, just owning the toy and related products does not imply that the owner is a fan or that they are aware of the character's backstory; in this sense, the Lotso series is more of a consumption trend than a media fandom. Once when I hung out with my friend, I noticed her power bank was part of the Miniso Lotso series. I asked her why she had purchased the item, and her initial response was to ask me who Lotso was. She then revealed that she thought the strawberry bear was Miniso's original character. Her response demonstrates the advantages and disadvantages of brand collaboration. On the plus side, customers may purchase more products due to their distinctive images, which would benefit the business. On the negative side, consumers may not know what they are buying. For example, the popularity of Zootopia and its success in business doesn’t mean consumers have watched the movie and the race issue it discussed. In China, the main reason why the Zootopia series is popular is because of the cute shape of the animals and the story it shows for all ages. Hence, though such a marketing strategy may seem successful in making profits, it may lead to a lack of value in the media.
Lotso’s influence extends beyond China to several other East-Asian countries. As part of China’s long-term economic integration strategy with the world and neighboring countries, Chinese businesses have been investing in countries like Vietnam for a long time. In addition to major companies like Alibaba and JD.com, retailers such as Miniso have also chosen to expand into the international market of Vietnam in order to offset slowing domestic growth (Cao & Nguyen, 2023). Up to now, there are more than 70 Miniso stores dispersed over about 30 provinces in Vietnam; their goods bring IP collaborations from across the seas. Such a business strategy has led to unexpected cultural significances, including attracting more followers for the bear and even more cosplayers who have no idea who Lotso is.
Lotso's villainous reputation is likewise changed by the fandom's interpretation. Although the strawberry bear kept trying to take revenge on the world and didn’t even realize he was wrong in the end of the story, he was not born to be the bad guy. In order to explain why Lotso turned evil, Disney created a sad story, which gave fans an opportunity to engage and rewrite the narrative, sometimes altering the original plot. Asking honest Lotso fans about why they love the character, the most moving answer I got was “I want to collect as much Lotso as I could and never throw it away, it is my way to make up for the regrets in the story, and also my regret in throwing so many toys in my childhood away”. In a new media ecology, media serves to provide viewers with emotional value while giving them room to engage, immerse themselves, and create. In addition to giving viewers a place to connect, Toy Story offers a variety of avenues for people to use toys to write their own stories in real life.
Lotso in Shanghai Disneyland
In transmedia storytelling, a story is systematically presented through multiple media platforms; each media channel explores different aspects of the story world with new perspectives, thus building a richer and more three-dimensional story universe for the audience (Jenkins, 2006). Besides traditional storytelling methods like novels and movies, offline sites such as amusement parks can also be part of the story universe. Hence, the events and interactions in Shanghai Disneyland also play a role in fixing the impression of Lotso. In some social media fan videos, Lotso acts just like any other tourist’s friend—giving hugs, being patient when they ask for things, and occasionally acting envious of other toys who get to meet them. In other videos, Lotso interacts with and meets other Toy Story characters in a friendly manner, abandoning the enemy relationship that existed in the original story. The toy stories that happen in the amusement park are another timeline, convincing fans to believe in them and Lotso’s ultimately good nature.
Mulan and Mushu Dragon Live in 21st Century Shanghai
This storytelling mode also provides chances for other characters who failed to gain the audience’s attention in films and TV series. One example is Mulan (2020), where the distinction between offline performance and media content is considerably more pronounced. Following the film’s release, the live-action Mulan received negative reviews for disrespecting Chinese culture and history, as well as for being a work that represents political injustice and an artistic failure (Wang, 2022). Mushu, the dragon in 1998 Disney Mulan, vanished in its 2020 version, becoming a character who only existed in adults’ memories, which further stoked viewer misgivings. However, Mulan is still a big hit in Shanghai Disneyland. During China's Dragon Year in 2024, Mulan and her dragon are the centre of attention, with hundreds of fans getting up early to watch the Disneyland morning ceremony in which they take part every day. Mushu joins other well-known Disney friends to become the a resident guest of the parade, and Mulan has a good chance of showing up at the Princess Palace to interact with guests.
Since Mulan and Mushu have returned to the public eye, another storyline has begun. This time, they travel forward to 2024 and enjoy modern technology with other Disney friends. Similar to “Duffy and Friends,” fans in Shanghai Disneyland take on the responsibility of creating, interpreting, and promoting the stories. In one summer parade, due to the intense heat and heavy workload, the Mushu Dragon performer suffered a sunstroke and almost fell off the float. When Mulan's performer saw this, she hurried to Mushu to hold the performer and provide support until they made their way to the first aid area. Fans captured this powerful moment, which became popular online, discussing how Mulan and Mushu help each other in contemporary society, just as they did in the classic film. Besides this video, many other touching videos are sent out when something happens, making sure that fans can relate to and understand them. For instance, during the Chinese New Year, some fans ask how Mulan’s family enjoys this festival. Mulan, as both the actress and the independent individual, will respond to questions by mixing Mulan's features and life experiences, giving people a feeling of closeness.
Mulan in Shanghai Disneyland
In this case, the nationalism and cultural resonance are also noteworthy. Since Mulan's image in China is derived from a collective memory created by old poetry and writings, audiences will undoubtedly experience some cultural tension as a result of the Western origin of this version of Mulan. For example, some visitors will steer clear of seeing Mulan because they believe the character's style and values deviate from Chinese traditional wisdom. However, Mulan is also able to rehabilitate her poor reputation from the film through immersive interactions in the parks, thanks to the nationalistic and cultural resonance engendered by M[SC9] [10] ulan’s origins in Chinese culture. Since Mulan is the sole Chinese princess in Shanghai Disneyland, a lot of visitors come to see and cheer for her. When asked why they wait in a queue for over an hour to chat with the Mulan actress, several guests replied that it is easier to speak their native tongue with her rather than with another actor because Mulan is the only princess in the park who speaks Chinese.
These are just some of the characters who gained popularity because of fan participation and transmedia storytelling in Shanghai Disneyland; there are many others who benefit from the mode. In a park that gathers all these interesting characters together, they are not alone but can wander throughout all the of Disney universe, meeting characters they may never have met in their movies or TV series in a more intuitive way that creates fun stories every day. Disneyland provides a world for fans to explore, create, and exert greater autonomy with a comparatively low technological barrier, which brings both cultural and financial benefits to the company in an unexpected way.
References
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Biography
Ying Wang is a third-year master’s student in Journalism and Communication at Shanghai University. As a participant in various popular cultures, she explores cosplay, games and online fiction. Her research focuses on participatory culture, especially gender and sexuality in fandom in China.
