Interactive games bring virtual boyfriends to Chinese women

• Some Chinese women are choosing virtual boyfriends in romance games.
• Digital companionship helps meet emotional needs alongside real relationships.

For some young professionals in China, romance is no longer limited to real-world relationships. Mobile games built around fictional partners are becoming part of daily emotional life, blending entertainment, storytelling, and digital intimacy into something that feels personal and routine.

As reported by ReutersZhou, a 33-year-old civil servant in Guangzhou, once assumed companionship would arrive naturally over time. Today, much of that emotional connection comes from a character inside a mobile game. Her partner of six months is Qi Yu — known in the English version as Rafayel — a fictional sea god and painter featured in Love and Deepspace, an action fantasy romance title that has drawn tens of millions of players globally.

“The process of getting to know him is incredibly fulfilling,” Zhou said.

Inside the game, players interact with animated characters through story arcs, voice exchanges, and simulated gestures such as holding hands or hugging. Zhou’s in-game avatar is modelled on her own face and voice, though it exists within a fictional identity. For about an hour each day, she progresses through storylines and limited events, spending money to unlock additional narrative paths. So far, she estimates spending more than 10,000 yuan on the experience.

Her engagement extends beyond the screen. Last month, Zhou travelled to Shanghai to attend a fan event hosted by the game’s developer, Papergames, dressing to match the aesthetic of the characters. For her, the appeal lies in both escapism and structure — the relationship exists entirely on her terms.

“If I make such a hasty decision, I’ll definitely regret it,” she said. “But with a male lead in a game, when I need you, I open the game and see you; when I don’t, I close the game and do my own thing. I feel like I’ve gotten used to this kind of lifestyle more and more.”

Digital romance as everyday experience

Love and Deepspacereleased in 2024, sits within the “otome” genre — romance simulations originally popularised in Japan that centre on narrative interaction between players and fictional love interests. Over time, these games have shifted from niche entertainment to large commercial platforms. Industry trackers estimate the title has generated hundreds of millions of dollars globally, with China accounting for the majority of player spending.

This commercial growth mirrors broader shifts in how digital media intersects with social and emotional life. Tingting Liu, an academic specialising in Chinese digital media at the University of Technology Sydney, links the rise of otome games to both economic and cultural change. She said many women now have the financial independence and confidence to invest in experiences shaped around personal preference.

“Many women nowadays have the financial means and cultural confidence to invest in experiences that prioritise their emotional needs and desires,” Liu said.

For some players, these games exist alongside traditional relationships rather than replacing them. Evina Li, a 31-year-old technology worker in Shanghai, has spent around 8,000 yuan in the game despite having a real-life boyfriend. She values the way the design centres emotional responsiveness.

She said the game “places women’s needs in a very important position”, adding that it makes up “for certain shortcomings in real-life interactions between men and women”.

Emotional engagement becomes a business model

Analysts note that interactive romance games tap into a wider pattern in digital entertainment: platforms increasingly blur the boundary between social connection and scripted experience. AI-driven dialogue systems, voice synthesis, and character personalisation are pushing these titles closer to simulated companionship. While these interactions remain fictional, they can feel structured, predictable, and emotionally safe — qualities that contrast with the uncertainty of real relationships.

At the same time, the spending model raises questions about how emotional engagement is monetised. Limited-time events, premium story chapters, and character upgrades encourage repeat purchases. For publishers, emotional attachment becomes a long-term revenue stream; for players, the investment reflects the perceived value of the experience.

Changing expectations around connection

Researchers studying digital relationships caution against framing such games purely as escapism. Instead, they see them as part of a wider shift in how people manage social needs in highly connected environments. As work schedules grow more demanding and urban living becomes more individualised, digital companionship can offer a controlled space for emotional expression.

For Zhou, the game is neither a substitute for real life nor a rejection of future relationships. It is simply a format that fits her current priorities. The ability to step in and out of a fictional romance without long-term obligation provides a sense of autonomy she values — one that reflects how digital media continues reshaping personal habits, spending patterns, and expectations around intimacy.

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