「谷子」這個詞近年在中國大陸年輕族群之間迅速走紅，其實是源自英文Goods的音譯用法，用來泛指與動漫、遊戲、小說、偶像等二次元文化IP相關的各類周邊商品。隨著用語逐漸本土化，「谷子」不再只是單純的商品代稱，而是一種帶有圈內認同與情感意義的文化符號，也延伸出一整套獨特的消費語言與社交行為。

在實際使用上，「谷子」涵蓋的範圍相當廣泛，從最常見的小型周邊，到具有收藏性的商品都包含其中。徽章是最典型的代表，在圈內通常被稱為「吧唧」，體積小、價格低、圖案豐富，極易形成大量收集的慾望。以壓克力材質製作的立牌、吊飾與掛件，因為角色形象立體、展示效果好，也深受歡迎。此外，印有角色插畫或官方圖稿的色紙、卡片，以及以隨機形式販售的盲盒、盲抽小公仔，都是「吃谷」時的常見選項。再往上延伸，還包括毛絨公仔、角色玩偶等更具陪伴感的商品。

隨著「谷子」文化發展，相關的消費行為也產生專屬說法。購買周邊被稱為「吃谷」，不只是消費行為，更帶有一種參與與支持的意味；在社群平台分享自己收藏的周邊則叫做「曬谷」，是一種展示審美與圈內身份的方式；而將大量徽章、吊飾裝飾在背包上的行為，則被稱為「痛包」，成為行走中的個人名片，讓同好能一眼辨認彼此的興趣取向。

「谷子」之所以能在大陸市場迅速爆紅，背後最重要的原因在於它所承載的精神與情緒價值。對許多年輕人而言，二次元角色不只是虛構形象，而是陪伴成長、投射情感與審美理想的存在。購買谷子，等於是將這份喜愛具象化，成為日常生活中可觸摸、可展示的情感寄託，也是一種「為熱愛付費」的自我肯定。

社交層面的需求同樣關鍵。透過谷子，年輕人能快速進入特定圈層，無論是在線上社群、線下活動，還是二手交易平台，只要圍繞相同IP，就能迅速建立話題與連結。加入所謂的「谷圈」，意味著獲得一種群體歸屬感與身份認同，而谷子的款式、稀有度與搭配方式，也逐漸成為圈內交流與比較的一部分。

相較於動輒數百甚至上千元的高端手辦，小型谷子的價格門檻明顯更低。幾十元人民幣就能入手一枚徽章或立牌，讓學生族群與剛踏入職場的年輕人也能輕鬆參與，並透過「少量多次」的方式累積收藏與滿足感，這種消費模式極大擴張市場規模。

近年中國國產IP的崛起，則為「谷子經濟」提供源源不絕的內容動力。隨著國產動漫、遊戲與原創角色在品質與影響力上不斷提升，「國谷」逐漸成為主流選項，不再只是日系或海外IP的附庸。從熱門動畫到爆款遊戲，官方與授權周邊快速跟進，形成完整的商品矩陣，進一步推高市場熱度。

更深層的背景，是年輕世代消費觀念的轉變。相較於單純追求實用性，他們更重視精神共鳴、審美價值與自我表達，願意為興趣、文化與情感體驗買單。隨著設計、生產、銷售、線上平台與二手流通逐步成熟，一條涵蓋正版授權、同人創作與轉售市場的完整產業鏈也隨之形成，所謂的「谷子經濟」因此快速壯大。

總體而言，「谷子」熱潮不只是一時的流行，而是中國年輕人追求個性表達、情感滿足與圈層文化的具體體現。它結合文化消費、社群互動與數位經濟的特性，反映出當代年輕世代在消費行為背後，對自我認同與精神世界的高度重視。

The term “Gǔzi” (谷子) has become increasingly popular among young people in mainland China in recent years. It is a phonetic transliteration of the English word “goods” and is used to refer to merchandise derived from IPs in anime, games, novels, idols, and broader two-dimensional (2D) culture. Over time, the word has evolved beyond a simple label for products and has taken on strong cultural and emotional connotations, becoming a symbol of in-group identity and shared values within fan communities, along with a distinctive set of consumption habits and social practices.

In practice, “gǔzi” covers a wide range of items, from small everyday collectibles to products with strong collectible appeal. Badges are among the most iconic examples and are commonly referred to within the community as “ba ji,” a localized term for badges. They are small, affordable, and available in countless designs, making them especially easy to collect in large numbers. Acrylic standees, keychains, and hanging ornaments are also extremely popular due to their three-dimensional presentation and strong visual impact. Other common items include shikishi boards and printed cards featuring official artwork, as well as blind-box or blind-draw products such as cards and small figurines sold in random assortments. Plush toys and character dolls, which offer a greater sense of companionship, further expand the scope of what is considered gǔzi.

As gǔzi culture has developed, it has also generated its own vocabulary to describe related behaviors. Buying merchandise is referred to as “eating gǔzi,” a phrase that implies participation and emotional investment rather than mere consumption. Sharing one’s collection on social media is known as “showing gǔzi,” serving as a way to display personal taste and fan identity. Decorating backpacks with large numbers of badges and charms is called carrying an “ita-bag,” which effectively turns the bag into a walking statement of one’s fandom, allowing fellow fans to recognize shared interests at a glance.

One of the main reasons gǔzi has become so popular in mainland China lies in the emotional and psychological value it provides. For many young people, characters from anime, games, or novels are not just fictional creations, but companions that accompany them through different stages of life and embody their emotional attachments and aesthetic ideals. Purchasing gǔzi allows these feelings to take tangible form, transforming affection into physical objects that can be touched, displayed, and integrated into everyday life. It also represents a conscious willingness to pay for what one loves, reinforcing a sense of self-affirmation.

Social factors play an equally important role. Through gǔzi, young people can quickly connect with specific fan circles, whether on online platforms, at offline events, or through second-hand trading communities. Sharing the same IP creates instant common ground and conversation. Joining a so-called “gǔzi circle” provides a strong sense of belonging and identity, while the styles, rarity, and combinations of merchandise often become topics of interaction, comparison, and bonding within the community.

Compared with high-end figures that can cost hundreds or even thousands of yuan, small gǔzi items have a much lower price threshold. Badges or acrylic standees often cost only a few dozen yuan, making them accessible to students and young professionals alike. This affordability encourages frequent, incremental purchases, allowing fans to gradually build collections and sustain a sense of satisfaction, which in turn greatly expands the overall market size.

The rise of domestic IPs in recent years has further fueled the growth of the gǔzi economy. As Chinese-made anime, games, and original characters continue to improve in quality and cultural influence, “domestic gǔzi” has become increasingly mainstream, no longer overshadowed by Japanese or overseas IPs. Popular animations and blockbuster games are often quickly supported by officially licensed merchandise, forming comprehensive product lineups that further stimulate consumer enthusiasm.

At a deeper level, the gǔzi phenomenon reflects a shift in consumption values among younger generations. Instead of focusing purely on practicality, they place greater emphasis on emotional resonance, aesthetic appreciation, and self-expression, and are willing to pay for interests, culture, and meaningful experiences. With design, manufacturing, sales channels, online platforms, and second-hand circulation becoming more mature, a complete industrial chain has emerged, encompassing official licensing, fan-created works, and resale markets. This has enabled the so-called “gǔzi economy” to expand rapidly.

Overall, the popularity of gǔzi is not merely a passing trend, but a clear manifestation of young people in China seeking individuality, emotional fulfillment, and community-based cultural identity. It represents the convergence of cultural consumption, social interaction, and the digital economy, and highlights how contemporary youth place increasing importance on self-identity and emotional meaning behind their spending choices.