A symbolic–visual advertising framework for engaging China’s generation Z in sustainable consumption

A symbolic–visual advertising framework for engaging China’s generation Z in sustainable consumption | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Article A symbolic–visual advertising framework for engaging China’s generation Z in sustainable consumption Gu Yan, Rosalam Che Me, Ernesto Pujazon This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-7015299/v1 This work is licensed under a CC BY 4.0 License Status: Published Journal Publication published 25 Mar, 2026 Read the published version in Humanities and Social Sciences Communications → Version 1 posted 13 You are reading this latest preprint version Abstract In response to intensifying global environmental concerns, sustainable consumption has become a critical agenda in both academic inquiry and advertising practice. While advertising plays a pivotal role in shaping consumer values and behaviours, conventional green campaigns often struggle to resonate with Generation Z—particularly within China’s hybrid economy and digital-native media ecosystem. This study conducts a thematic and cross-case analysis of three representative campaigns from China—Ant Forest, FOTILE’s Letters to the Earth, and CAFA’s Buy the Hell Out—to identify key mechanisms for designing culturally resonant sustainable consumption advertising. The findings reveal three core communicative strategies: symbolic encoding, visual immersion, and participatory orchestration. Grounded in theories of symbolic consumption, visual narrative, and participatory culture, this study proposes a tri-dimensional SCA–SVI framework. This model integrates (1) culturally embedded sustainability knowledge to strengthen symbolic identity; (2) immersive, mobile-native visual storytelling to evoke emotional resonance, and (3) subcultural expression and peer co-creation to foster behavioural transformation. The SCA–SVI framework offers actionable guidance for advertisers, designers, and sustainability communicators seeking to translate environmental messages into symbolic meaning, affective engagement, and social relevance. It contributes to bridging value-based sustainability communication and Gen Z’s evolving symbolic ecosystems in China. Future research may expand this model by incorporating generative AI, immersive environments, and platform-specific dynamics to enhance the adaptability and scalability of symbolic sustainability strategies. Humanities/Cultural and media studies Social science/Cultural and media studies Social science/Environmental studies Social science/Science technology and society Figures Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 Figure 12 Figure 13 Figure 14 1. Introduction Sustainable consumption is a core element of the United Nations’ Sustainable Development Goals (SDGs). In the face of escalating environmental challenges, including climate change and resource depletion, both governments and industries are seeking strategies to encourage more responsible consumption behaviours (Li et al., 2022 ). Advertising, as a powerful tool for shaping consumer perceptions, plays a dual role: it may either perpetuate materialistic lifestyles or serve as a catalyst for sustainability (Gilbert et al., 2021 ; Liu and Zhu, 2022 ). The concept of sustainable consumption advertising (SCA) thus emerges at the intersection of persuasive marketing and public interest communication, aligning brand strategies with ecological responsibility (Kelleci and Yıldız, 2021 ). In China, the promotion of sustainable lifestyles has been elevated to a national strategic objective. However, current sustainable advertising practices—especially those framed as Public Service Announcements (PSAs)—are often characterised by simplistic rational appeals or emotionally generic slogans that fail to meaningfully engage digital-native audiences (Chan and Cheng, 2009 ; Cheng, 2022 ). Generation Z consumers (born 1995–2010), whose values are shaped by participatory media culture, subcultural affiliations, and hybrid identities, demonstrate a paradox: while environmentally aware, they rarely translate such attitudes into consistent sustainable behaviours (Gu et al., 2024 ; Yang and Chen, 2022 ). This gap calls for advertising strategies that go beyond mere information delivery toward symbolic meaning-making that aligns with Gen Z’s cultural codes and peer-based values (Sheng and Yue, 2022 ). Unlike traditional sustainability advertising that prioritises product rationality or CSR transparency, symbolic advertising embeds sustainability into desirable lifestyles, identity narratives, and culturally resonant media experiences (Lu, 2022 ; Yang, 2020 ). Prior research emphasises the need to move away from Western-centric models towards culturally situated frameworks that reflect China’s unique policy–market hybrid and digital collectivism (Li, 2022 ; Zhu, 2020 ). Yet few studies have systematically explored how symbolic advertising design elements—such as visual metaphors, cultural narratives, or subcultural cues—function in the context of sustainability promotion among China’s Gen Z. This study addresses this gap by proposing a strategic advertising design framework that conceptualises SCA as symbolic advertising—positioning sustainability as a culturally coded, emotionally resonant, and socially endorsed value system for Chinese Gen Z consumers. Drawing upon symbolic consumption theory, visual narrative theory, and participatory culture theory, this study analyses three representative Chinese SCA campaigns to identify core design mechanisms. This phase forms part of a larger doctoral project and contributes both theoretically—by reinterpreting SCA through a symbolic-visual lens—and practically by offering actionable insights for advertisers aiming to engage youth audiences in meaningful behavioural change. 2. Literature Review and Conceptual Framework 2.1. Defining Sustainable Consumption Advertising (SCA) We hold the view that the concept of sustainable consumption advertising (SCA) is conceptualised as an integrated communication strategy aimed at bridging the gap between consumers’ pro-sustainability attitudes and their actual purchasing behaviours (Hua et al., 2020 ). Whether it is a commercial advertisement or a public welfare advertisement in which a brand participates, advertising often prioritises short-term economic gains, inadvertently reinforcing materialistic values (Ye and Zhang, 2018 ). In contrast, SCA leverages symbolic consumption, cultural narratives, and digital engagement to align sustainability messages with consumer identities (Yang, 2020 ). This approach ensures that sustainability is not merely portrayed as an individual responsibility but is embedded within the formation of social identity. While traditional sustainable advertising models typically rely on rational appeals, corporate transparency, and eco-labelling strategies, China’s unique socio-economic and cultural environment landscape necessitates a different approach (Rahman et al., 2023 ). Cultural symbols, participatory digital platforms, and collective identity construction reflect China’s distinctive policy–market hybrid economy, where state interventions and consumer activism interact to shape sustainability narratives (Li et al., 2022 ). 2.2. China’s Generation Z: Digital Natives and Cultural Custodians China’s Generation Z plays a pivotal role in driving sustainability and catalysing digital engagement (Xie and Wang, 2022 ). Unlike previous generations who passively received advertisements, Gen Z actively interacts with marketing through gamified participation, social validation, and influencer-driven storytelling (Yang and Chen, 2022 ). They exhibit a preference for interactive, personalised, and visually immersive content, necessitating a departure from traditional SCA approaches. To effectively engage this demographic, SCA must incorporate participatory digital strategies, including gamification, influencer storytelling, and user-generated content (Ren, 2022 ). Digital platforms enhance information retention and consumer agency, positioning sustainability as a socially expected lifestyle choice rather than a corporate-imposed duty (Kadic-Maglajlic et al., 2019 ). Moreover, peer validation mechanisms on social media play a crucial role in reinforcing eco-friendly behaviours and embedding sustainability within identity formation (He, 2022 ). However, Gen Z is also highly sceptical of commercialised sustainability narratives, often rejecting corporate greenwashing efforts (Zhu, 2020 ). Therefore, SCA must embed sustainability within culturally authentic identity markers to establish legitimacy and perceived value (Yang, 2020 ). 2.3. Sustainable Consumption Advertising in the Chinese Context Despite extensive research on sustainable advertising, much of it remains Western-centric, overlooking the unique dynamics of China’s hybrid economy (UNEP et al., 2017 ). This study addresses this gap by proposing the reconceptualisation of sustainability as a participatory ecosystem. Unlike Western SCA models that emphasise individual responsibility and corporate transparency, China’s advertising landscape is shaped by state-driven environmental policies and digital collectivism (Li et al., 2022 ). This policy–market hybrid structure fosters participatory digital ecosystems, making it possible for sustainable consumption to become a collective cultural norm. Symbolic consumption, driven by social identity rather than functional needs, plays a central role in shaping young consumers’ perceptions of sustainability (Sheng and Yue, 2022 ). China’s unique cultural and political milieu offers an opportunity for symbolic advertising to link environmental behaviours with national identity, social belonging, and collective responsibility, thereby enhancing consumer well-being. Our studies indicate that Chinese sustainability campaigns are most persuasive when they incorporate cultural symbols, heritage narratives, and collective action messages. Digital peer influence and social networks amplify these sustainability messages, particularly among Gen Z audiences who actively engage in social media-driven sustainability discussions. Successful sustainability initiatives should position sustainability as both a moral obligation and a socially expected behaviour, reinforcing cultural identity while leveraging digital engagement mechanisms (Gu et al., 2024 ). 2.4. Theoretical Proposition and Conceptual Framework Building upon the preceding literature, this study proposes that effective sustainable consumption advertising (SCA) for China’s Generation Z should integrate symbolic communication, visual storytelling, and participatory interaction to activate identity-based engagement and promote behavioural change. Specifically, the conceptual foundation of this study rests on a multi-dimensional theoretical model comprising three interrelated perspectives: symbolic consumption, visual narrative, and participatory culture. First, drawing from symbolic consumption theory (Baudrillard, 1998 ; Nwankwo, 1973 ), consumption is understood not merely as functional, but as a symbolic act that expresses identity, status, and subcultural affiliation. In the Chinese context, this is particularly relevant for Gen Z, whose purchasing behaviour is often shaped by symbolic values encoded in aesthetic, ideological, or cultural forms (Guo and Xiang, 2015 ; Yang, 2022 ). SCA, when reframed as symbolic advertising, can embed sustainability within desirable lifestyles and identity narratives that resonate with youth subcultures. Second, informed by visual narrative theory and cultural semiotics (Barthes, 1979 ; De Burgh-Woodman and Brace‐Govan, 2008 ), this study views sustainable messaging as a culturally coded form of communication. Visual metaphors, aesthetic codes, and intertextual references enable abstract ecological concepts to be translated into affective and culturally resonant messages. In SCA, visual narratives serve to anchor sustainability in culturally specific imagery and emotional storytelling, thereby enhancing narrative immersion. Third, this framework incorporates participatory culture theory (Carpentier, 2011 ), which emphasises the shift from passive message reception to interactive meaning-making. For China’s digitally native Gen Z, engagement is shaped by social media logic, user-generated content, and co-creation. Embedding participatory mechanisms into SCA—such as gamification, social sharing, or subcultural collaboration—can catalyse peer-led diffusion and behavioural reinforcement. As shown in Fig. 1 , these three perspectives—symbolic, visual, and participatory—are synthesised into a conceptual model that positions SCA as a form of culturally embedded symbolic advertising. The theoretical proposition emerging from this model is as follows: Sustainable consumption advertising that integrates symbolic representation, immersive visual storytelling, and participatory engagement is more likely to resonate with China’s Generation Z, strengthen identity alignment, and encourage pro-environmental behavioural change. This theoretical lens informs the case selection, thematic coding, and comparative analysis undertaken in the following sections. It also establishes the conceptual foundation for the SCA–SVI framework proposed in this study, contributing to a more culturally grounded and design-oriented understanding of sustainability communication. 3. Methods This study constitutes the second phase of a broader doctoral research project aimed at developing an innovative advertising design framework for enhancing sustainable consumption among China’s Generation Z. Grounded in Yin’s ( 2017 ) multiple-case study methodology, this phase employs a qualitative comparative case study approach to investigate how symbolic, visual, and participatory strategies are operationalised in sustainable consumption advertising (SCA) campaigns targeting young Chinese audiences. The research builds upon findings from the first phase, which involved a nationwide survey of 414 Gen Z respondents. That quantitative stage explored aesthetic preferences, media engagement behaviours, and motivational drivers in relation to sustainable consumption, offering foundational insights into how design elements influence young consumers’ attention and intention. Informed by these results and a comprehensive literature review, a conceptual framework—the Symbolic–Visual–Interactional (SVI) model—was developed. This three-dimensional framework identifies symbolic resonance, immersive visual storytelling, and participatory engagement as key mechanisms of effective SCA. 3.1. Case Selection and Sampling Criteria In accordance with the conceptual framework, three advertising campaigns were purposively selected to reflect diversity in institutional type and communication approach, while sharing thematic alignment around sustainable consumption. The three cases are as follows: Ant Forest (Alipay)—A gamified public-interest platform embedded in a commercial app, promoting low-carbon actions through symbolic visualisations and digital rewards. Letters to the Earth (FOTILE)—A corporate campaign that integrates ecological technology and emotional storytelling, aligning brand identity with environmental consciousness. Buy the Hell Out (Central Academy of Fine Arts)—An experimental graduation design project by a Gen Z student using symbolic provocation and minimalist aesthetics to critique overconsumption. These cases were selected based on three key criteria: Thematic relevance: Alignment with the goals of SDG 12 (responsible consumption and production). Recognition and visibility: Receipt of national/institutional attention, awards, or documented industry influence. Youth engagement: Demonstrated resonance with China’s Gen Z consumers, reflected in social media visibility, peer-to-peer circulation, or user-generated interaction. Together, these cases represent a spectrum of SCA practices—platform-based public engagement, brand-driven corporate communication, and independent design critique—providing a robust basis for comparative insight into how symbolic and visual strategies shape pro-environmental attitudes and behaviours. 3.2. Data Collection and Sources To develop a comprehensive understanding of each sustainable consumption advertising (SCA) campaign, this study employed a multi-source qualitative data collection strategy. The first category of data comprised advertising artefacts, including videos, posters, slogans, design elements, and official website descriptions, which were used to assess the campaigns’ symbolic and narrative structures. Social media interactions were also collected from platforms such as Weibo, Xiaohongshu, and WeChat. These data included hashtags, repost trends, user commentaries, and influencer endorsements, providing insight into audience engagement and participatory behaviours. In addition, user-generated content (UGC), such as memes, remixes, and interpretive texts, offered evidence of how audiences responded to or reinterpreted the campaigns, reflecting the bottom–up dynamics of meaning-making. Finally, institutional and contextual materials—including campaign press releases, award citations, media coverage, and designer portfolios (particularly in the CAFA case)—provided essential background on strategic intent, brand positioning, and communication goals. All materials were compiled into a structured database using a standardised documentation template (see Table 1 ), which ensured consistency and traceability across cases and facilitated the subsequent stages of thematic and comparative analysis. Detailed documentation for each campaign is provided in Appendices A–C. Table 1 Standardised template for SCA material collection. Attribute Operational Description Theoretical Dimension Campaign Title Official name of the sustainable consumption advertising (SCA) campaign — Organisational Actor Entity responsible for the campaign: platform, corporate brand, or educational institution — Launch Period Year of campaign launch and duration of primary activity — Sustainability Focus Environmental or behavioural aspect addressed (e.g., low-carbon lifestyle, anti-consumerism) — Target Audience Demographics and psychographics of Gen Z consumers targeted by the campaign — Media Channels Media platforms used for dissemination (e.g., WeChat, Taobao, TV, exhibitions) Participatory Core Message Main persuasive claim or sustainability theme conveyed Participatory Visual Strategy Key visual metaphors, colour schemes, design aesthetics, and visual tone Visual Symbolic Representation Use of cultural/subcultural/ideological symbols and metaphors that resonate with Gen Z identity Symbolic Digital Engagement Types Modes of interactivity: gamification, influencer involvement, co-creation, hashtag use, etc. Participatory User Participation Metrics Indicators of reach and resonance, such as UGC volume, social shares, likes, comments, and virality Participatory Awards and Recognition Industry credibility: received national/international recognition, awards, or media citations — Additional Notes Researcher observations, unique cultural features, controversies, or limitations relevant to the campaign — 3.3. Analytical Procedures The analytical process adhered to Braun and Clarke’s ( 2012 ) six-phase thematic analysis framework. This involved initial familiarisation with the raw materials, followed by systematic open coding to identify meaningful patterns and recurring motifs. Themes were then generated and refined based on theoretical alignment, reviewed for coherence, and finally structured into clearly defined categories for interpretation. Thematic coding was conducted manually and iteratively by the author, using axial coding principles. To enhance analytic validity, initial codes were reviewed by an independent researcher familiar with qualitative media studies. Discrepancies were resolved through discussion. Three key analytical dimensions guided this process: symbolic meaning, narrative structure, and participatory engagement. The symbolic dimension focused on elements such as metaphors, iconography, and identity-related representations. The narrative dimension captured how messages were structured through plot devices, temporal sequencing, or culturally situated storytelling strategies. The participatory dimension examined how audiences were invited into the campaigns through interactivity, user co-creation, and platform-driven dissemination. Building on the thematic findings from each case, a cross-case comparative synthesis was conducted to examine how symbolic–visual mechanisms varied or converged across the campaigns. This synthesis aimed to identify recurring design principles conducive to fostering sustainability engagement among China’s Generation Z. This synthesis provided the foundation for the analytical categories presented in the Results and Discussion Section, where the interrelationships among symbolic strategies, visual narratives, and participatory mechanisms are systematically unpacked. 4. Results This section applies the Symbolic–Visual–Immersive (SCA–SVI) framework to critically examine how three Chinese sustainable consumption advertising (SCA) campaigns—Ant Forest, Letters to the Earth, and Buy the Hell Out—construct sustainability through symbolic encoding, visual narration, and participatory engagement. Rather than describing campaign features, the analysis interrogates how sustainability is reconstituted as a culturally coded, emotionally resonant, and socially endorsed identity practice within China’s Gen Z media ecology. By unpacking the symbolic meanings, narrative structures, and interactive dynamics embedded in each case, the analysis reveals both the persuasive potential and structural limitations of symbolic advertising in translating pro-environmental values into behavioural norms. The discussion proceeds case by case, culminating in a cross-case synthesis that refines the theoretical implications of the SCA–SVI model. 4.1. Ant Forest Ant Forest, launched by Ant Financial Services Group in 2016, exemplifies a digitally integrated sustainable consumption advertising (SCA) initiative that bridges symbolic engagement and behavioural transformation. Embedded within the Alipay ecosystem, the programme transforms individual low-carbon actions—such as using public transport or mobile transactions—into gamified symbolic gestures through the accumulation of “green energy”. These symbolic actions are visualised as growing virtual trees, which correspond to real trees planted in arid regions of China, thereby constructing a tangible metaphor that connects personal action with collective ecological impact. As of 2024, the campaign has engaged over 600 million users and is widely recognised for its role in mainstreaming sustainability narratives within China’s platform economy. Rather than positioning sustainability as a rational duty, Ant Forest reconstructs it as an emotionally charged, socially endorsed, and digitally gamified identity practice. This case was thematically analysed along four interlinked dimensions: gamified motivation, social identity, visual storytelling, and digital ecosystem integration. These dimensions correspond, respectively, to the participatory, symbolic, and visual mechanisms proposed in the SCA–SVI framework. 4.1.1. Motivating Through Gamification Ant Forest operationalises sustainability through an intricate gamification system that converts low-carbon behaviours—such as walking, cycling, or digital payments—into accumulative “green energy” points. These points function both as behavioural feedback and symbolic currency within the app’s interface, where users cultivate virtual trees that later correspond to real-world afforestation efforts. This interface, as shown in Fig. 2 , not only visualises environmental contributions but reinforces repeated engagement through a sense of progression, achievement, and social comparison. From a participatory culture perspective (Jenkins, 2016 ), such design mechanisms do not merely incentivise action—they reconfigure everyday behaviours into ritualised performances within a platform-mediated ecology. The green energy system becomes a symbolic structure in itself, codifying sustainable action as a personal asset and social signal. Leaderboards, level-ups, and interactive animations serve as gamified feedback loops that tap into Gen Z’s need for instant gratification and visible social progress. The logic of gamification in this context mirrors what Kadic-Maglajlic et al. ( 2019 ) describe as “engagement by design”, where user motivation is sustained through behavioural scaffolding rather than critical reflection. While this approach effectively drives environmental micro-behaviours, it also risks instrumentalising sustainability as a reward-oriented task, rather than nurturing intrinsic ecological values. As Jahari et al. ( 2022 ) warn, such systems may reinforce external compliance without cultivating long-term attitudinal change, particularly when users disengage from platforms or lose novelty interest. Critically, the symbolic abstraction of ecological contribution into quantifiable units reflects a deeper neoliberal logic—where sustainability is not pursued as a shared moral imperative, but gamified into individualised digital habits. The interface’s cheerful visual rhetoric conceals the structural inequalities of platform governance and environmental degradation, reducing sustainability to a playful, frictionless, and highly mediatized form of self-optimisation. In sum, Ant Forest’s gamification model exemplifies how participatory infrastructures can successfully mobilise pro-environmental behaviours through symbolic and behavioural incentives. However, this model simultaneously commodifies ecological engagement, raising important questions about the limits of platform-based sustainability and the long-term viability of reward-driven behavioural change. 4.1.2. Networked Belonging and Symbolic Identity Beyond its behavioural incentives, Ant Forest constructs a digitally mediated sense of environmental identity through mechanisms of social collaboration and peer visibility. Users are encouraged to “co-plant” trees with friends, exchange green energy, and form environmental alliances with family or romantic partners. These features—illustrated in Fig. 3 —foster what Carpentier ( 2011 ) refers to as “minimalist participation”, where symbolic gestures of collaboration produce a sense of networked belonging without requiring deep deliberation or structural critique. Within this symbolic economy, sustainable behaviour becomes performative and identity-driven. Profile badges, achievement medals, and sharable milestones serve as semiotic tokens through which users signal ecological consciousness within their social networks. Participation is no longer purely instrumental; it is recoded as a form of cultural capital. In this context, Ant Forest aligns with Sheng and Yue’s ( 2022 ) conception of symbolic consumption among China’s Gen Z, where everyday actions are saturated with communicative function and socially recognised meaning. This transformation of ecological action into public-facing identity markers reflects a shift from individual moral responsibility to collective symbolic affiliation. Users do not simply “do good”—they are seen to do good, within a gamified space that validates their actions through metrics and social feedback. As Yang ( 2020 ) notes, digital-native consumers construct their sense of belonging through repeated symbolic performances that align personal identity with group norms and cultural narratives. Yet this process raises critical questions about depth versus display. While Ant Forest succeeds in normalising sustainability through symbolic visibility, it also risks flattening environmental ethics into stylised self-branding. When pro-environmental action is primarily motivated by peer recognition or gamified reward, symbolic participation may mask superficial engagement. The performative display of digital environmentalism—“click-to-care” or “badge-based virtue”—may function more as identity affirmation than as sustained ecological commitment. Ultimately, Ant Forest exemplifies how symbolic infrastructures within digital platforms construct a sense of eco-identity and social belonging. By translating ecological participation into culturally legible symbols and peer-validated expressions, the campaign mobilises sustainability as a lifestyle aesthetic and shared value. However, its reliance on symbolic visibility over critical reflexivity underscores the tension between behavioural engagement and ideological depth in platform-based environmental campaigns. 4.1.3. Visual Metaphors and Emotive Sustainability Framing A core feature of Ant Forest’s persuasive strategy lies in its visual narrative infrastructure. The campaign deploys emotionally charged visual metaphors—most notably, the transformation of abstract “green energy” into animated virtual saplings that eventually become real trees planted in arid regions. As depicted in Fig. 4 , this metaphor operates simultaneously on aesthetic, emotional, and symbolic levels, linking individual digital participation with tangible ecological restoration. Drawing on Barthes’ ( 1979 ) semiotic theory, the virtual tree serves as a mythologised signifier that naturalises the relationship between everyday action and environmental impact. The growth of a tree, long embedded in Chinese cultural symbolism as a sign of renewal and moral cultivation, is repurposed here as a digital index of environmental virtue. This metaphorical chain enables users to see themselves as ecological agents within a visual system that confirms their impact in real time. At the affective level, the narrative arc is designed to foster emotional resonance and narrative immersion. The visual progression—from seedling to mature tree—mirrors a journey of personal contribution and communal progress. As Rahman et al. ( 2023 ) suggest, emotionally relevant framing enhances the retention and internalisation of sustainability messages, particularly when users are offered narrative closure or moral reward. Ant Forest’s visual dramaturgy aligns with this principle by providing users with a story structure in which they are not merely consumers, but protagonists of environmental change. However, the affective power of visual storytelling also introduces a degree of abstraction and simplification. While users can witness their “green energy” growing into a tree on screen, the complex ecological and institutional processes involved in actual afforestation are obscured. This “visual compression” risks creating a hyper-personalised and overly optimistic portrayal of environmental efficacy. As Li ( 2022 ) caution, overly aestheticised sustainability narratives can depoliticise structural issues, promoting emotional satisfaction over critical awareness. In essence, Ant Forest succeeds in visualising sustainability in ways that are symbolically rich and emotionally compelling. By translating abstract ecological values into familiar cultural metaphors and narrative forms, the campaign constructs an immersive visual experience that facilitates intuitive understanding and personal identification. Yet, this emotional and aesthetic immediacy may also veil the political and material complexities of environmental action, highlighting the dual edge of visual persuasion in platform-based ecological communication. 4.1.4. Systemic Integration and Participatory Infrastructure What distinguishes Ant Forest from conventional sustainability campaigns is its deep integration into the broader Alipay ecosystem, which allows environmental behaviours to become embedded in the digital routines of everyday life. Through seamless data capture from activities such as e-payment, ride-sharing, and step tracking, the platform generates “green energy” without requiring conscious behavioural shifts. This frictionless participation model—illustrated in Fig. 5 —operates as a systemic infrastructure that normalises sustainable action by minimising cognitive effort. From a media infrastructural perspective, this integration exemplifies what Trindade ( 2019 ) calls the “deep mediatization” of social life, wherein platforms do not merely mediate behaviour but configure its very conditions of possibility. Ant Forest’s architecture transforms private consumption data into collective ecological contributions, recasting sustainability as an ambient digital condition rather than a deliberate ethical choice. In this system, ecological participation becomes a background process—passively activated yet publicly rewarded. The participatory affordances of the platform are further extended through cross-sector collaborations, including co-branded green product initiatives, corporate carbon offset schemes, and partnerships with state forestry programmes. These alliances expand the campaign’s symbolic and material impact, but also consolidate its position within China’s platform-state nexus. As the United Nations Environment Programme (UNEP et al., 2017 ) notes, cross-platform and cross-sectoral integration is a powerful lever for scaling sustainability—but it also centralises control over how environmental values are defined, measured, and monetised. This raises critical questions about platform governance and environmental subjectivity. While Ant Forest enables low-barrier participation and aligns with users’ digital habits, it also reinforces a technocratic model in which ecological citizenship is algorithmically managed, gamified, and scored. Users are invited to care—but only within the pre-scripted parameters of the platform. The risk, as Li ( 2022 ) argue, is that sustainability becomes domesticated into metrics and milestones, disconnected from structural critique or grassroot mobilisation. Thus, while Ant Forest exemplifies an advanced model of participatory infrastructure that effectively mobilises Gen Z users, it also reveals the paradoxes of platform-driven sustainability: high engagement but low reflexivity; symbolic empowerment but systemic opacity. As a sociotechnical system, it invites participation while delimiting agency, offering an accessible entry point into ecological behaviour, but on tightly managed terms. 4.1.5. Summary The Ant Forest campaign demonstrates how sustainability can be rearticulated as platform-mediated identity performance through the integration of symbolic meaning-making, visual metaphor, and participatory infrastructure. It exemplifies the symbolic–visual–immersive logic proposed in the SCA–SVI framework, wherein ecological action is gamified, socially endorsed, and emotionally visualised within a frictionless media environment. However, this systematised model of engagement—while behaviourally effective—risks reducing sustainability to a quantifiable, self-referential cycle of symbolic performance. The case thus reveals how platform-based sustainability campaigns, while effective in mobilising symbolic participation among Gen Z, may ultimately constrain ecological agency within a closed circuit of behavioural automation and identity performance. 4.2. Letters to the Earth In contrast to the platform-centric mechanics of Ant Forest, the Letters to the Earth campaign by FOTILE adopts a narrative-centric approach, weaving sustainability into emotionally resonant, culturally anchored storytelling. Rather than gamifying action, the campaign evokes intergenerational memory, heritage values, and affective identification to position sustainability as an ethical and aesthetic commitment rooted in Chinese cultural imaginaries. Leveraging emotionally intimate narratives, ecological technologies, influencer credibility, and cross-brand alliances, the campaign constructs a multi-layered symbolic field where environmental responsibility becomes a mode of cultural belonging. Through this lens, sustainability is not merely promoted as a behaviour, but performed as a culturally valued moral orientation. The following analysis dissects four key mechanisms—emotive storytelling, technological naturalisation, peer validation, and brand synergy—to examine how the campaign activates symbolic and visual strategies in alignment with the SCA–SVI framework. Particular attention is given to the integration of cultural codes, heritage metaphors, and authenticity discourses in producing an affect-driven model of sustainable consumption advertising. 4.2.1. Affective Narratives and Cultural Anchoring At the core of Letters to the Earth lies a narrative strategy that embeds sustainability within affect-laden, culturally grounded stories. Rather than positioning sustainability as a behavioural instruction or digital task, the campaign constructs it as an inherited ethical orientation—deeply tied to place, memory, and intergenerational continuity. Drawing from motifs such as reforestation in the Three-North Shelterbelt, wetland conservation, and traditional craft revival, the campaign deploys emotionally charged micro-narratives that locate ecological care within familiar cultural topographies. As shown in Fig. 6 , visual materials—such as handwritten letters, intimate voice-overs, and cinematic portrayals of rural landscapes—are mobilised to evoke a sense of belonging and moral duty. This narrative modality resonates with Barthesian (Barthes, 1979 ) semiotics in its use of culturally pre-coded signs—family, soil, rivers, and ancestors—as symbolic anchors through which abstract environmental concerns are rendered immediate and personal. The letter as a communicative form itself signifies sincerity, memory, and intimacy, offering a stark contrast to the fast-paced, quantifiable engagement seen in platform-based models like Ant Forest. In this context, storytelling functions not merely as a rhetorical device but as a moral infrastructure, constructing sustainability as a matter of renqing (human sentiment) and cultural inheritance. From a visual narrative theory perspective (De Burgh-Woodman and Brace‐Govan, 2008 ), the campaign’s emotive aesthetic—soft colour palettes, close-up textures, and slow pacing—facilitates narrative immersion, allowing viewers to inhabit the temporal and emotional worlds of ecological protagonists. Unlike didactic PSAs or commercial ads, Letters to the Earth avoids overt persuasion; instead, it invites reflective empathy and affective resonance, aligning sustainable action with moral sensibility rather than consumer rationality. Yet this narrative intimacy also invites critical scrutiny. As Rahman et al. ( 2023 ) caution, culturally embedded emotional appeals can essentialise identity and moralise consumption in ways that obscure structural causes of environmental harm. By locating sustainability within nostalgic and idealised rural imaginaries, the campaign risks aestheticising ecological discourse and displacing urgency with sentimentality. Moreover, the emphasis on inherited virtue may alienate urban Gen Z viewers less connected to such cultural symbols, thereby limiting cross-demographic reach. Nevertheless, Letters to the Earth exemplifies how affective storytelling—when grounded in cultural semiotics—can expand the symbolic repertoire of sustainability communication. Through carefully crafted visual metaphors and emotionally saturated narratives, the campaign constructs a symbolic terrain where ecological care is not only communicated but culturally naturalised. 4.2.2. Technological Naturalisation and Everyday Ethics While Letters to the Earth foregrounds cultural narrative, it simultaneously integrates ecological technology as a visual and symbolic device for reinforcing sustainable values in everyday life. The campaign showcases FOTILE’s environmentally conscious appliances—high-efficiency hoods, water-saving dishwashers, and energy-optimised gas hobs—not merely as products but as mediators of ethical consumption. These technologies are framed not in technical terms but as enablers of ecological care within the domestic sphere. As illustrated in Fig. 7 , their presentation within narrative vignettes—set in family kitchens, rural households, and natural landscapes—imbues them with moral valence and cultural resonance. This integration aligns with what Kelleci and Yıldız ( 2021 ) describe as “value-aligned product semiotics”, whereby sustainable features are embedded in design narratives that symbolically link technical performance to broader ecological commitments. Here, the visual framing of appliances transcends utilitarian messaging: clean air, water, and energy efficiency become semiotic stand-ins for intergenerational protection, maternal care, and respect for nature. The product becomes a moral object, encoded with social responsibility. From a symbolic consumption perspective (Baudrillard, 1998 ), such technological objects are no longer valued purely for use—they serve as cultural texts through which ethical identity is performed. In Letters to the Earth, the appliance is re-signified as an ethical interface, mediating the relationship between consumer subjectivity and planetary stewardship. Sustainability is thus not merely a policy directive but a tangible, habitual practice—ritualised through consumption. However, this naturalisation of technology within moral discourse also merits scrutiny. As Veronica ( 2016 ) cautions, the seamless alignment of brand, ethics, and ecology may risk depoliticising sustainability, transforming structural challenges into solvable design problems. The campaign’s aestheticisation of green innovation may obscure the environmental externalities of production, the class-based accessibility of such technologies, or the technocratic framing of ecological responsibility. In this context, the symbolic coupling of ecological ethics with premium appliances may inadvertently reinforce socio-economic exclusions. Nonetheless, Letters to the Earth offers a compelling example of how environmental technologies can be semiotically repositioned—not as isolated innovations but as embodied moral agents. Through visual storytelling and symbolic alignment, the campaign positions ecological design as a culturally legitimate and emotionally desirable expression of everyday ethics. 4.2.3. Mediated Credibility and Peer Legitimacy A central component of Letters to the Earth lies in its mobilisation of mediated credibility—anchored in the public persona of actor Chen Kun, whose involvement functions as a symbolic bridge between brand advocacy and civic trust. As a long-time environmental ambassador and social welfare advocate, Chen’s handwritten letter—widely circulated on Weibo and WeChat—lends the campaign an aura of authenticity and emotional sincerity. His public image, built around introspection and moral clarity, reinforces the message that sustainability is not only aspirational but personal. As shown in Fig. 8 , the visualisation of Chen’s “letter to the earth” reconfigures a celebrity endorsement into a performative act of ethical self-disclosure. This strategy aligns with He’s ( 2022 ) observation that China’s Generation Z places high value on emotional congruence and perceived authenticity in their interaction with public figures. Unlike conventional influencer marketing that leverages attention economies, Letters to the Earth constructs a parasocial intimacy, where the spokesperson is not merely promoting a product, but participating in a collective moral gesture. In this sense, mediated credibility becomes a distributed affective resource—transferring trust from the figure to the message and its associated brand. More broadly, this participatory logic extends into peer circulation. The campaign encourages users to share their own “letters to the earth” via WeChat moments, branded hashtags, and co-creation platforms. This strategy taps into what Carpentier ( 2011 ) terms “structured participation”, where participation is invited within controlled parameters to simulate grassroot engagement. User-generated content and emotional testimony function not only as expressions of individual concern but as legitimacy signals within peer networks—normalising sustainability as a socially desirable discourse. Yet this model of mediated participation is not without its contradictions. While the campaign avoids overt commercialism, it remains embedded in a highly curated affective economy, where authenticity is manufactured, and emotional capital becomes a strategic asset. The fusion of celebrity virtue and brand voice may obscure the institutional interests shaping sustainability discourse. As Zhu ( 2020 ) notes, youth audiences increasingly resist corporate greenwashing, especially when sustainability is framed as moral theatre devoid of structural accountability. Nevertheless, Letters to the Earth demonstrates how mediated trust and emotional contagion can serve as gateways to participatory sustainability culture. By leveraging affective credibility and peer validation, the campaign repositions sustainability from abstract value to shared social practice—symbolically affirmed, emotionally circulated, and collectively performed. 4.2.4. Cross-Brand Affiliation and Distributed Advocacy In addition to its emotive narratives and mediated credibility, Letters to the Earth leverages extensive cross-brand collaboration as a mechanism for scaling sustainability discourse and constructing distributed advocacy networks. By partnering with over 50 national brands across diverse sectors—from cultural institutions to consumer goods—FOTILE curated a collective campaign under the unified theme of “100 Love Letters to the Earth”, generating more than 200 million views and widespread social media interaction. As visualised in Fig. 9 , these collaborative outputs shared consistent symbolic motifs—handwritten letters, earth-toned palettes, and emotionally introspective visuals—establishing visual and ideological coherence across the ecosystem. From a symbolic communication perspective, such brand affiliation operates as a form of semiotic alignment, wherein sustainability becomes a shared narrative currency among brands seeking cultural legitimacy. Rather than promoting isolated corporate responsibility, the campaign constructs a meta-narrative of ecological solidarity—dispersed across logos, formats, and audiences, yet unified by an affective and moral frame. This reflects what Sesini et al. ( 2020 ) term “networked sustainability meaning-making”, where diverse actors collectively author and circulate environmental values to reinforce normative consensus. This distributed advocacy model also embodies participatory logic at the institutional level. Each collaborating brand effectively functions as a symbolic relay, amplifying campaign visibility while reaffirming sustainability as a cross-sectoral imperative. Such alignment lends credibility to the message and extends its reach into new cultural domains—education, publishing, and design—beyond FOTILE’s original market. The strategy mirrors Jenkins’ (Arning, 2009 ) notion of “spreadable media”, wherein meaning is co-produced and disseminated through collaborative affiliations, not merely top–down broadcasting. However, the institutionalisation of shared advocacy also invites critical interrogation. While the campaign avoids overt commercial competition, its reliance on brand synergy may lead to a dilution of ideological depth, transforming sustainability into a stylistic consensus rather than a contested ethic. Moreover, as consumers grow increasingly attuned to performative sustainability, the symbolic capital generated by cross-brand alignment must be matched by demonstrable structural commitments—otherwise, the campaign risks being interpreted as affective branding masked as collective responsibility. Even so, Letters to the Earth offers a notable case of how sustainable consumption advertising can evolve beyond individual brand storytelling into a networked cultural event. Through symbolic coherence and participatory affiliation, the campaign constructs an expansive, emotionally saturated semiotic field—where environmental values are socially shared, visually codified, and institutionally endorsed. 4.2.5. Summary Letters to the Earth reconfigures sustainable consumption as a culturally embedded narrative practice—mobilising emotive storytelling, symbolic coherence, and mediated participation to construct a collective moral imagination. Through its integration of affective visuals (visual dimension), culturally coded ethics (symbolic dimension), and peer validation (participatory dimension), the campaign offers a persuasive yet ideologically managed model of symbolic sustainability. While its emotional appeal and narrative harmony enhance resonance, they also risk aestheticising ecological discourse and suppressing structural critique. As a semiotically rich yet ideologically contained campaign, Letters to the Earth reveals how SCA may serve less as a tool of persuasion than as a vehicle of cultural reaffirmation. The next case, Buy the Hell Out, disrupts this consensus paradigm—foregrounding symbolic rupture, visual provocation, and subcultural resistance. 4.3. Buy the Hell Out As a student-initiated design intervention emerging from the Central Academy of Fine Arts, Buy the Hell Out diverges sharply from the institutional and corporate sustainability frameworks of Ant Forest and Letters to the Earth. Framed as a graduation project rather than a commercial campaign, it articulates a radically different semiotic logic—eschewing emotional persuasion, aesthetic harmony, and behavioural incentives in favour of symbolic dissonance, visual minimalism, and subcultural provocation. This project confronts consumerism through irony and inversion: strands of human hair, individually packaged and sold on Taobao for a symbolic price, serve as both commodity and critique. Instead of resolving the tension between consumption and sustainability, Buy the Hell Out exacerbates it—revealing the contradictions of symbolic value, production excess, and performative participation. Through this lens, the project offers a critical re-reading of sustainability advertising, foregrounding rupture over resonance, cognitive discomfort over emotional affirmation. What emerges is a subversive visual language that resists dominant sustainability aesthetics while exposing the cultural, ideological, and economic structures they often conceal. The following analysis deconstructs its design strategy across four intersecting dimensions: symbolic inversion, aesthetic minimalism, peer-driven circulation, and philosophical provocation. 4.3.1. Symbolic Inversion and Anti-Consumerist Provocation At the heart of Buy the Hell Out lies a symbolic inversion strategy that subverts the cultural logics of consumption through deliberate absurdity. By offering strands of human hair—packaged, labelled, and sold for RMB 0.1 on Taobao—the designers transform bodily waste into a commercial artefact, collapsing the boundary between commodity and critique. This act reframes the logic of value not as use or status, but as symbolic absurdity, thereby exposing the arbitrariness and constructedness of consumer desire. This design gesture aligns with what Baudrillard ( 1998 ) terms “sign-value critique”: the deliberate inflation or disruption of symbolic codes to reveal the ideological operations of consumption itself. The hair, stripped of any intrinsic worth, becomes a metonym for surplus, excess, and identity commodification. Each item—labelled with a serial number and production date—parodies industrial rationality while mimicking the aesthetic of high-end branding. As visualised in Fig. 10 , the material artefact serves as both product and polemic, inviting audiences to reflect on the spectacle of sustainability and the absurd lengths to which symbolic consumption extends. Rather than resolving contradictions between ecological ethics and consumer practice, Buy the Hell Out foregrounds them. Its irony is not playful but epistemic: it functions as what Barthes ( 1979 ) would call a “counter-myth”—a secondary sign system that deconstructs the ideological naturalisation of green consumerism. In doing so, it destabilises the optimistic aesthetics of mainstream sustainable advertising, opting instead for visual discomfort and conceptual disturbance. Importantly, the project also challenges the moral authority typically claimed by SCA initiatives. It refrains from offering solutions, instead amplifying discomfort and interpretive ambiguity. This refusal to persuade—combined with its refusal to beautify—creates a space of critical reflexivity. By rejecting resolution, it forces the viewer to confront the complicity of symbolic systems in sustaining ecological and ideological harm. In essence, Buy the Hell Out functions not as a persuasive communication, but as a symbolic interruption. Its anti-consumerist provocation reframes sustainability as a question, not an answer—reclaiming the semiotic terrain of advertising as a site for critical engagement rather than behavioural compliance. 4.3.2. Aesthetic Minimalism and Visual Estrangement In sharp contrast to the emotional richness and visual harmony of mainstream sustainable advertising, Buy the Hell Out adopts an aesthetic of deliberate restraint and estrangement. Its design language—monochromatic tones, sparse composition, and clinical typography—rejects ornamental appeal in favour of conceptual tension. Product images are stark and affectless: single strands of hair, neatly sealed in transparent bags, marked only by serial numbers and dates. As shown in Fig. 11 , this minimalist presentation strips the visual field of narrative cues, confronting viewers with a visual vacuum that resists interpretation. This mode of aesthetic minimalism serves not as stylistic preference but as a strategic disruption of advertising’s affective infrastructure. According to Veronica ( 2016 ), the dominant function of advertising imagery is to seduce, soothe, or affirm—deploying beauty and coherence to naturalise ideological content. Buy the Hell Out reverses this principle: its refusal of visual gratification produces what Brechtian aesthetics would call “alienation effects”, prompting audiences to step back from emotional identification and instead reflect critically on what is being presented—and what is not. The visual estrangement deployed here also resists the spectacularisation of sustainability. Unlike campaigns that use lush nature scenes, smiling families, or digital metaphors of progress, Buy the Hell Out avoids environmental iconography altogether. There are no trees, no rivers, no appeals to the future. Instead, the viewer is faced with a banal yet unsettling object—human hair as commodity—devoid of narrative comfort or visual optimism. This semiotic inversion aligns with what Arning ( 2009 ) describes as a strategy of ironic critique, in which kitsch aesthetics and symbolic dissonance are deployed not to clarify meaning, but to provoke discomfort, reflexivity, and a re-evaluation of consumerist norms. Yet this strategy also entails communicative risk. The project’s aesthetic opacity and visual coldness may alienate viewers unfamiliar with its critical codes, limiting its interpretive accessibility. Its resistance to visual pleasure may be misread as indifference or nihilism rather than critique. But herein lies its radical proposition: by undermining advertising’s seductive logic, Buy the Hell Out opens up a space for alternative visualities—ones that invite discomfort, provoke ambiguity, and re-politicise the act of looking. In sum, the project’s minimalist design is not merely a visual style, but a refusal—of spectacle, of persuasion, of resolution. It exemplifies how aesthetic subtraction can operate as a critical tactic in sustainability discourse, unsettling the smooth visual grammar of green consumerism and making space for estranged reflection. 4.3.3. Peer Circulation and Platform Subversion While Buy the Hell Out originated as an experimental design project within an academic setting, its influence was amplified through peer circulation and viral traction on Chinese social media platforms such as Xiaohongshu, WeChat, and Taobao. The project’s symbolic ambiguity and visual rupture attracted attention not through institutional dissemination, but via user-generated content (UGC), commentary threads, and participatory reinterpretation. As shown in Fig. 12 , reposts often included ironic captions, meme overlays, or aesthetic remixes, extending the campaign’s meaning beyond its original form into a subcultural vernacular of critique and play. This circulation model exemplifies what Jenkins ( 2016 ) describes as “spreadable media”—where audiences do not passively consume but actively recontextualise, fragment, and reframe content within their own networks. In contrast to traditional sustainable advertising campaigns that tightly manage message framing and brand alignment, Buy the Hell Out embraces semantic instability and platform remixability. Rather than resisting appropriation, it leverages it—turning its symbolic strangeness into a participatory catalyst for interpretive engagement. Importantly, this circulation operates within—and against—the architecture of mainstream e-commerce and social media platforms. By inserting critique into Taobao’s marketplace interface, the campaign exploits the visual and rhetorical conventions of online retail to stage its conceptual inversion. Product descriptions mimic standard commercial language; item listings generate algorithmic visibility; aesthetic minimalism echoes boutique design brands. Yet all of this is deployed ironically, subverting platform expectations from within. This strategy resonates with Carpentier’s ( 2011 ) notion of “maximalist participation”, where users are not merely interactive but politically engaged in reconfiguring symbolic orders. Through sharing, mocking, remixing, or even purchasing the hair products, participants enact a form of tactical disruption that both critiques and exploits the very platforms it inhabits. Participation here is not instrumental (e.g., tree planting, leaderboard climbing), but reflexive and dissent-oriented. However, platform subversion is not without limitations. As Zhu ( 2020 ) notes, Gen Z audiences are simultaneously resistant to and dependent on digital systems, and subversive content may be rapidly commodified or neutralised through algorithmic absorption. The irony of Buy the Hell Out—once stripped of its critical context—risks becoming an aestheticised quirk, assimilated into the same consumer spectacle it seeks to critique. Nonetheless, the project demonstrates how peer-driven participation can expand the symbolic terrain of sustainable discourse through irony, appropriation, and tactical intervention. It signals a shift from structured behavioural campaigns to decentralised, culturally coded critiques—where sustainability is neither instructed nor incentivised, but subversively circulated and collectively renegotiated. 4.3.4. Philosophical Discomfort and Cognitive Reflexivity Unlike conventional sustainability campaigns that aim to inspire hope, evoke empathy, or motivate behavioural change, Buy the Hell Out deliberately suspends emotional resolution and narrative closure. The campaign invites philosophical discomfort by staging a provocation that refuses interpretation on moral or functional terms. Its designers describe their intention as “creating public misunderstanding to provoke deeper questioning”—a formulation that foregrounds opacity as method and unease as message. As seen in Fig. 13 , the visual frame offers no guiding metaphors, no explanatory slogans, and no path to redemption—only repetition, fragmentation, and absurdity. This strategy exemplifies what Hua et al. ( 2020 ) identify as cognitive engagement—a communication mode that resists affective saturation in favour of intellectual stimulation. By withholding emotional gratification and narrative coherence, the project prompts audiences to interrogate their own assumptions about value, waste, authenticity, and ecological ethics. In doing so, it repositions sustainability not as a behaviour to adopt, but as a semiotic system to critique. Moreover, the philosophical abstraction of Buy the Hell Out operates within the aesthetic tradition of détournement: the radical reconfiguration of symbolic materials to disrupt ideological narratives. Through its minimalist artefact—the commodified hair—the campaign forces viewers to confront the absurd logics of commodification itself. Rather than mobilising guilt, hope, or virtue, it confronts the viewer with ambiguity, inviting not action but reflection. This reflexive stance marks a departure from the persuasive imperatives that dominate sustainable consumption advertising. As Jahari et al. ( 2022 ) note, most SCA frameworks assume that sustainability communication must be affectively engaging and action-oriented. Buy the Hell Out subverts this assumption by foregrounding meaninglessness, discomfort, and irony—not as communicative failures, but as philosophical devices to re-politicise the symbolic infrastructure of consumption. Nevertheless, such cognitive opacity poses clear limits to reach and legibility. The project’s intellectual density and aesthetic austerity may exclude less media-literate or subculturally attuned audiences, raising questions about accessibility, elitism, and cultural capital. Its refusal to persuade is also a refusal to universalise—a strength in ideological critique, but a limitation in broad social mobilisation. Still, as a counterpoint to emotionally saturated, institutionally scripted forms of SCA, Buy the Hell Out provides a rare example of symbolic reflexivity and conceptual resistance. It challenges not only what sustainable advertising shows, but how it makes us think—and who gets to decide what sustainability means. 4.3.5. Summary Buy the Hell Out offers a radical departure from conventional sustainability advertising by rejecting affective coherence, behavioural persuasion, and symbolic consensus. Through strategies of inversion, estrangement, and conceptual provocation, it destabilises dominant visual and ideological codes, reframing sustainability as a site of subcultural critique rather than moral alignment. Rather than operationalising the SCA–SVI framework through resonance, the campaign confronts it through rupture—employing symbolic dissonance, minimalist aesthetics, and peer-led reinterpretation to expose the performative contradictions of green consumerism. While its interpretive opacity and limited accessibility raise questions about audience reach, its value lies in expanding the expressive and critical boundaries of what sustainable communication can be. In contrast to the emotionally curated and system-integrated models of Ant Forest and Letters to the Earth, Buy the Hell Out functions as a counter-hegemonic intervention—disrupting the normative visual economy of sustainability and foregrounding reflexivity over reassurance. 5. Discussion 5.1 The Symbolic-Visual Immersion (SVI) Framework This section integrates the findings from the three cases analysed to develop a refined sustainable consumption advertising (SCA) framework tailored to China’s Gen Z consumers. Through cross-case synthesis, we consolidate symbolic, visual, and participatory mechanisms into a coherent theoretical structure. Building upon the thematic codes derived from each campaign, Table 2 maps specific strategies to the SCA–SVI tri-dimensional model, allowing for both comparative insight and systematic framework construction. Table 2 Case-based mapping to the SCA–SVI framework. Case Thematic Code (Keyword) Sub-Mechanism SCA–SVI Dimension Ant Forest Green leaderboard Behavioural Activation Participatory Orchestration Ant Forest Interface animation Mobile-Native Visualisation Visual Immersion Ant Forest Energy icon animations Interface Metaphor Visual Immersion FOTILE Handwritten letters Heritage Symbolism Symbolic Encoding FOTILE Emotional voiceover Emotional Storytelling Visual Immersion FOTILE Ancestral care imagery Cultural Resonance Symbolic Encoding FOTILE Co-branded advocacy Collaborative Advocacy Participatory Orchestration CAFA Minimalist visual form Minimalist Critique Visual Immersion CAFA Symbolic recontextualization Subcultural Repositioning Symbolic Encoding CAFA Fragmented storytelling Visual Estrangement Visual Immersion This matrix illustrates how each campaign operationalises the SCA–SVI framework through differentiated but conceptually aligned strategies. The symbolic dimension is defined by heritage metaphors, identity-rooted reinterpretation, and cultural semantics that embed sustainability within shared narratives and social meaning systems. The visual immersion dimension encompasses aesthetic and narrative techniques such as interface metaphors, emotional voiceovers, and estranged visual cues that shape cognitive–affective responses. The participatory orchestration dimension activates user involvement and community alignment via gamification, collaborative campaigns, and digital interactivity. Collectively, these mappings reveal how effective sustainable consumption advertising must move beyond unidirectional message delivery, instead fostering identity-based resonance, immersive storytelling, and participatory co-construction. The findings validate the tri-dimensional logic of the SCA–SVI model and provide a robust foundation for its application in both academic inquiry and advertising design practice. 5.2 Cultural Resonance and Participatory Mechanisms Figure 14 illustrates the final SCA–SVI framework designed to guide sustainable consumption advertising (SCA) targeting China’s Generation Z. The model adopts a two-tiered structure: the outer layer defines three communicative dimensions—symbolic encoding, visual immersion, and participatory orchestration—while the inner layer presents the key sub-mechanisms derived from cross-case thematic synthesis, including heritage symbolism, interface metaphor, emotional storytelling, and subcultural repositioning. Collectively, these dimensions reframe sustainability from a top–down policy directive into a culturally embedded, emotionally resonant, and socially co-produced digital experience. The framework activates symbolic resonance by embedding sustainability into Gen Z’s subcultural vocabulary, employs digital-native aesthetics for immersive storytelling, and fosters collective participation through gamified and collaborative modes of engagement. Each dimension is operationalised through distinct communicative mechanisms: Symbolic Encoding: This dimension reconstructs sustainability through culturally saturated signs, memes, idioms, and visual vernaculars that resonate with Gen Z’s identity performance. By embedding environmental meaning into familiar symbolic systems, campaigns convert sustainability into social currency, facilitating peer-to-peer diffusion and symbolic behavioural alignment. Visual Immersion: Through mobile-native visuals, metaphorical sequencing, and emotionally engaging narratives, this dimension enhances cognitive and affective processing. In particular, visual estrangement—via symbolic disruption or aesthetic inversion—disrupts normative perception and invites critical reflection on unsustainable practices, increasing narrative salience and memorability. Participatory Orchestration: This dimension fuses informational clarity with interactive communication. Through gamification, co-creation, and digital advocacy, it transforms passive awareness into participatory engagement. These mechanisms reinforce behavioural salience and embed sustainability within everyday social rituals and community-driven expressions. The SCA–SVI framework thus offers a theoretically grounded and empirically substantiated model for both scholars and practitioners. By synthesising symbolic consumption theory, visual narrative strategy, and participatory culture, it provides a culturally responsive pathway for advancing normative behavioural transformation among China’s Generation Z in the realm of sustainable consumption. 5.3 Implications and Future Research This study has examined how sustainable consumption advertising (SCA) can be strategically designed to engage China’s Generation Z—an audience shaped by digital nativity, subcultural fluency, and strong symbolic sensitivities. Through cross-case and thematic analyses of three emblematic campaigns—Ant Forest, FOTILE’s Letter to the Earth, and the Central Academy of Fine Arts’ Buy the Hell Out—the research identified how cultural symbolism, visual narrative immersion, and participatory mechanisms can be integrated to drive attitudinal and behavioural shifts toward sustainability. The findings reveal that effective SCA is not solely about message transmission but about embedding sustainability into Gen Z’s symbolic ecology. This requires translating abstract environmental values into emotionally engaging, culturally resonant, and socially shareable forms. The resulting SCA–SVI framework proposes a tri-dimensional model—symbolic encoding, visual immersion, and participatory orchestration—each supported by sub-mechanisms derived from real-world campaigns. This model reconceptualises sustainability as a dynamic communicative experience that aligns with Gen Z’s aesthetic expectations and identity expressions. Practically, the framework serves as a design blueprint for advertisers, creative directors, and public communication strategists. For instance, symbolic encoding encourages the use of culturally situated idioms, memes, and vernaculars to trigger identity alignment; visual immersion highlights narrative metaphors and mobile-native aesthetics to amplify emotional resonance; and participatory orchestration guides designers to embed interactive mechanisms—such as gamification or co-creation—to transform passive awareness into actionable commitment. While this study offers both theoretical depth and empirical grounding, limitations remain. The sample is limited to three China-based cases, and further empirical validation across platforms and audience segments is needed. Future research could expand this framework through longitudinal audience reception studies or apply it to emerging platforms shaped by generative AI and algorithmic personalisation. Ultimately, this study contributes to the evolving literature on sustainable advertising and visual communication by localising theory in the cultural context of China’s Gen Z. It offers a culturally responsive, design-oriented pathway to transform sustainability from a top–down imperative into a lived, shared, and co-created generational practice. Declarations Supplementary Material Appendix A, Appendix B, and Appendix C are provided in a separate Supplementary File uploaded with this submission. Data Availability Statement The data used in this study consist of publicly available advertising materials collected from official media outlets, brand websites, and verified social media platforms in China. All sources are appropriately cited in the manuscript, and no proprietary or confidential data were used. Competing Interests The author declares no competing interests. Funding This research received no external funding. Data Availability All data analyzed in this study are included in this manuscript. No new data were generated. Ethical Approva l Not applicable. This study does not involve human participants or animals. Informed Consent Not applicable. Author Contributions The author is solely responsible for the conception, design, data collection, analysis, and writing of this manuscript. Consent to Publish Not applicable. References Arning C (2009) Kitsch, irony, and consumerism: a semiotic analysis of diesel advertising 2000–2008. Semiotica 2009:21–48 Barthes R (1979) Lecture in inauguration of the chair of literary semiology, college de France, January 7,1977. Oxf Lit Rev 4(1):31–44 Baudrillard J (1998) Société de consommation: ses mythes, ses structures. SAGE, New York Braun V, Clarke V (2012) Thematic analysis. In: APA handbook of research methods in psychology: research designs: quantitative, qualitative, neuropsychological, and biological. 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Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-7015299","acceptedTermsAndConditions":true,"allowDirectSubmit":false,"archivedVersions":[],"articleType":"Article","associatedPublications":[],"authors":[{"id":497720372,"identity":"05c45234-24ec-46e3-b540-3190c6b836c4","order_by":0,"name":"Gu Yan","email":"data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAZAAAAAyAQMAAABI0h/eAAAABlBMVEX///8AAABVwtN+AAAACXBIWXMAAA7EAAAOxAGVKw4bAAAA7UlEQVRIiWNgGAWjYFAC5gMHEiqANHsDkDCwIEYLW+KDD2eANM8BkBYJYrTwGBvObAPSEgkgHhFa5CNyzKR52w7Lm0s+v7rhR4EEA397dwJeLYY30sqkec4dNtw5O6fsZg/QYRJnzm7Ar2VG8jZpnrLDjBtu56Td4AFqMZDIJaQlwUyah+2w/YabZ9Ju/iFGi7xEirHhjLbDiRtusB+7TZQtBjzPQIGcnrzhTA7bbRkDCR6CfpFvTwZFpbXthuPHn91888dGjr+9l4AtB8BUMxDzGIBYPHiVg21pAFN1QMz+gKDqUTAKRsEoGJkAADGWT0yt0XEcAAAAAElFTkSuQmCC","orcid":"","institution":"Universiti Putra Malaysia","correspondingAuthor":true,"prefix":"","firstName":"Gu","middleName":"","lastName":"Yan","suffix":""},{"id":497720373,"identity":"4a3c1746-776f-47ce-b9d3-dff0803ce797","order_by":1,"name":"Rosalam Che Me","email":"","orcid":"","institution":"Universiti Putra Malaysia","correspondingAuthor":false,"prefix":"","firstName":"Rosalam","middleName":"Che","lastName":"Me","suffix":""},{"id":497720374,"identity":"935c3c2b-b22c-49e8-a6dc-5005378ca316","order_by":2,"name":"Ernesto Pujazon","email":"","orcid":"","institution":"Weifang Institute of Technology","correspondingAuthor":false,"prefix":"","firstName":"Ernesto","middleName":"","lastName":"Pujazon","suffix":""}],"badges":[],"createdAt":"2025-07-01 02:53:21","currentVersionCode":1,"declarations":"","doi":"10.21203/rs.3.rs-7015299/v1","doiUrl":"https://doi.org/10.21203/rs.3.rs-7015299/v1","draftVersion":[],"editorialEvents":[{"content":"https://doi.org/10.1057/s41599-026-07058-6","type":"published","date":"2026-03-25T16:10:40+00:00"}],"editorialNote":"","failedWorkflow":false,"files":[{"id":89861480,"identity":"93f2e186-3c54-47cc-bf34-e1a673b788da","added_by":"auto","created_at":"2025-08-25 21:04:45","extension":"png","order_by":1,"title":"Figure 1","display":"","copyAsset":false,"role":"figure","size":104909,"visible":true,"origin":"","legend":"\u003cp\u003eThe SCA–SVI theoretical design framework.\u003c/p\u003e","description":"","filename":"floatimage1.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/c92f46fb10bb899f5bfcfba5.png"},{"id":89861126,"identity":"7e7bb762-b7eb-4807-98d1-31bb64c5de5d","added_by":"auto","created_at":"2025-08-25 20:56:46","extension":"png","order_by":2,"title":"Figure 2","display":"","copyAsset":false,"role":"figure","size":51567,"visible":true,"origin":"","legend":"\u003cp\u003eThe Ant Forest app interface (source: Ant Forest app and website).\u003c/p\u003e","description":"","filename":"floatimage2.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/ce347b26e7b6f08d73d63d11.png"},{"id":89861481,"identity":"c34534ed-5b7e-4848-a2f9-a0264598c02c","added_by":"auto","created_at":"2025-08-25 21:04:46","extension":"png","order_by":3,"title":"Figure 3","display":"","copyAsset":false,"role":"figure","size":89309,"visible":true,"origin":"","legend":"\u003cp\u003eAnt Forest app’s social features (source: Ant Forest app and website).\u003c/p\u003e","description":"","filename":"floatimage3.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/02d04892b5b1ef942cd0ec0d.png"},{"id":89861148,"identity":"70aa1bd2-62a7-4f1b-8f09-d8ff9d66b071","added_by":"auto","created_at":"2025-08-25 20:56:46","extension":"png","order_by":4,"title":"Figure 4","display":"","copyAsset":false,"role":"figure","size":92564,"visible":true,"origin":"","legend":"\u003cp\u003eEducational infographics in Ant Forest (source: Ant Forest app).\u003c/p\u003e","description":"","filename":"floatimage4.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/e3c34dc90275067e091a16e1.png"},{"id":89861134,"identity":"bf77702e-c676-4e21-8b37-31f9b07843ad","added_by":"auto","created_at":"2025-08-25 20:56:46","extension":"png","order_by":5,"title":"Figure 5","display":"","copyAsset":false,"role":"figure","size":1261849,"visible":true,"origin":"","legend":"\u003cp\u003eTechnological integration and platform synergy.\u003c/p\u003e","description":"","filename":"floatimage5.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/5668d44c29cea0146c2e6702.png"},{"id":89861139,"identity":"951a6d42-8245-459f-b891-24e3553344ee","added_by":"auto","created_at":"2025-08-25 20:56:46","extension":"png","order_by":6,"title":"Figure 6","display":"","copyAsset":false,"role":"figure","size":38520,"visible":true,"origin":"","legend":"\u003cp\u003eAuthentic storytelling and emotional engagement.\u003c/p\u003e","description":"","filename":"floatimage6.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/a203e57d735d812eafcb5ff3.png"},{"id":89861141,"identity":"89212ccc-a2a3-4d94-ba6a-87f8a3cec484","added_by":"auto","created_at":"2025-08-25 20:56:46","extension":"png","order_by":7,"title":"Figure 7","display":"","copyAsset":false,"role":"figure","size":81453,"visible":true,"origin":"","legend":"\u003cp\u003eIntegration of ecological technology.\u003c/p\u003e","description":"","filename":"floatimage7.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/dd8460c92c6d32545e560c42.png"},{"id":89861144,"identity":"ef8fdf84-cae5-4312-a266-120e7fb2a70d","added_by":"auto","created_at":"2025-08-25 20:56:46","extension":"png","order_by":8,"title":"Figure 8","display":"","copyAsset":false,"role":"figure","size":79422,"visible":true,"origin":"","legend":"\u003cp\u003eInfluencer advocacy and conscious consumption.\u003c/p\u003e","description":"","filename":"floatimage8.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/affe6a9613a91416e7748f7e.png"},{"id":89861485,"identity":"e6e9c599-4945-4560-9090-76b19c07182d","added_by":"auto","created_at":"2025-08-25 21:04:46","extension":"png","order_by":9,"title":"Figure 9","display":"","copyAsset":false,"role":"figure","size":79645,"visible":true,"origin":"","legend":"\u003cp\u003eCollaborative promotion and brand synergy.\u003c/p\u003e","description":"","filename":"floatimage9.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/1c79a0e2243e447d7d437639.png"},{"id":89861484,"identity":"3f29f20a-9266-439f-85b5-e7217d6f6031","added_by":"auto","created_at":"2025-08-25 21:04:46","extension":"png","order_by":10,"title":"Figure 10","display":"","copyAsset":false,"role":"figure","size":157603,"visible":true,"origin":"","legend":"\u003cp\u003eSymbolic narrative and critique of consumerism.\u003c/p\u003e","description":"","filename":"floatimage10.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/d3a2ae8a69fbafafc30f8c34.png"},{"id":89861155,"identity":"0806cda8-62c7-412d-845e-acb6900d58a1","added_by":"auto","created_at":"2025-08-25 20:56:47","extension":"png","order_by":11,"title":"Figure 11","display":"","copyAsset":false,"role":"figure","size":35808,"visible":true,"origin":"","legend":"\u003cp\u003eMinimalist visual aesthetics.\u003c/p\u003e","description":"","filename":"floatimage11.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/713871b57341a3092a290724.png"},{"id":89861158,"identity":"8385cbfd-103d-432a-bbd3-4148fa915573","added_by":"auto","created_at":"2025-08-25 20:56:47","extension":"png","order_by":12,"title":"Figure 12","display":"","copyAsset":false,"role":"figure","size":113058,"visible":true,"origin":"","legend":"\u003cp\u003eNew media amplification and peer advocacy.\u003c/p\u003e","description":"","filename":"floatimage12.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/bbc3d91801816db4b706d6af.png"},{"id":89861152,"identity":"e0a438af-c214-4228-90e3-ffa361d1df37","added_by":"auto","created_at":"2025-08-25 20:56:46","extension":"png","order_by":13,"title":"Figure 13","display":"","copyAsset":false,"role":"figure","size":107992,"visible":true,"origin":"","legend":"\u003cp\u003eIntellectual engagement and philosophical reflection.\u003c/p\u003e","description":"","filename":"floatimage13.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/a861361185ddeb727d42421c.png"},{"id":89861138,"identity":"c26124b0-2746-4c5c-a143-84ebe3c1a423","added_by":"auto","created_at":"2025-08-25 20:56:46","extension":"png","order_by":14,"title":"Figure 14","display":"","copyAsset":false,"role":"figure","size":233018,"visible":true,"origin":"","legend":"\u003cp\u003eSCA-SVI three-dimensional framework.\u003c/p\u003e","description":"","filename":"floatimage14.png","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/5616bf8f549db88fe6bea8aa.png"},{"id":105755856,"identity":"24ee4c0f-d122-4652-943e-b97416d418ab","added_by":"auto","created_at":"2026-03-30 16:31:42","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":3838355,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/926af663-0a7a-4fa5-99f5-9039cb70409e.pdf"},{"id":89861124,"identity":"bc4a18de-c6c6-4f2f-aafb-e3be2c4b8827","added_by":"auto","created_at":"2025-08-25 20:56:45","extension":"docx","order_by":0,"title":"","display":"","copyAsset":false,"role":"supplement","size":1024111,"visible":true,"origin":"","legend":"","description":"","filename":"SupplementaryAppendice.docx","url":"https://assets-eu.researchsquare.com/files/rs-7015299/v1/5ed1e64115a9c38d291a87a5.docx"}],"financialInterests":"No competing interests reported.","formattedTitle":"A symbolic–visual advertising framework for engaging China’s generation Z in sustainable consumption","fulltext":[{"header":"1. Introduction","content":"\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eSustainable consumption is a core element of the United Nations\u0026rsquo; Sustainable Development Goals (SDGs). In the face of escalating environmental challenges, including climate change and resource depletion, both governments and industries are seeking strategies to encourage more responsible consumption behaviours (Li et al., \u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). Advertising, as a powerful tool for shaping consumer perceptions, plays a dual role: it may either perpetuate materialistic lifestyles or serve as a catalyst for sustainability (Gilbert et al., \u003cspan citationid=\"CR9\" class=\"CitationRef\"\u003e2021\u003c/span\u003e; Liu and Zhu, \u003cspan citationid=\"CR20\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). The concept of sustainable consumption advertising (SCA) thus emerges at the intersection of persuasive marketing and public interest communication, aligning brand strategies with ecological responsibility (Kelleci and Yıldız, \u003cspan citationid=\"CR17\" class=\"CitationRef\"\u003e2021\u003c/span\u003e).\u003c/p\u003e\u003cp\u003eIn China, the promotion of sustainable lifestyles has been elevated to a national strategic objective. However, current sustainable advertising practices\u0026mdash;especially those framed as Public Service Announcements (PSAs)\u0026mdash;are often characterised by simplistic rational appeals or emotionally generic slogans that fail to meaningfully engage digital-native audiences (Chan and Cheng, \u003cspan citationid=\"CR6\" class=\"CitationRef\"\u003e2009\u003c/span\u003e; Cheng, \u003cspan citationid=\"CR7\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). Generation Z consumers (born 1995\u0026ndash;2010), whose values are shaped by participatory media culture, subcultural affiliations, and hybrid identities, demonstrate a paradox: while environmentally aware, they rarely translate such attitudes into consistent sustainable behaviours (Gu et al., \u003cspan citationid=\"CR10\" class=\"CitationRef\"\u003e2024\u003c/span\u003e; Yang and Chen, \u003cspan citationid=\"CR33\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). This gap calls for advertising strategies that go beyond mere information delivery toward symbolic meaning-making that aligns with Gen Z\u0026rsquo;s cultural codes and peer-based values (Sheng and Yue, \u003cspan citationid=\"CR26\" class=\"CitationRef\"\u003e2022\u003c/span\u003e).\u003c/p\u003e\u003cp\u003eUnlike traditional sustainability advertising that prioritises product rationality or CSR transparency, symbolic advertising embeds sustainability into desirable lifestyles, identity narratives, and culturally resonant media experiences (Lu, \u003cspan citationid=\"CR21\" class=\"CitationRef\"\u003e2022\u003c/span\u003e; Yang, \u003cspan citationid=\"CR31\" class=\"CitationRef\"\u003e2020\u003c/span\u003e). Prior research emphasises the need to move away from Western-centric models towards culturally situated frameworks that reflect China\u0026rsquo;s unique policy\u0026ndash;market hybrid and digital collectivism (Li, \u003cspan citationid=\"CR18\" class=\"CitationRef\"\u003e2022\u003c/span\u003e; Zhu, \u003cspan citationid=\"CR36\" class=\"CitationRef\"\u003e2020\u003c/span\u003e). Yet few studies have systematically explored how symbolic advertising design elements\u0026mdash;such as visual metaphors, cultural narratives, or subcultural cues\u0026mdash;function in the context of sustainability promotion among China\u0026rsquo;s Gen Z.\u003c/p\u003e\u003cp\u003eThis study addresses this gap by proposing a strategic advertising design framework that conceptualises SCA as symbolic advertising\u0026mdash;positioning sustainability as a culturally coded, emotionally resonant, and socially endorsed value system for Chinese Gen Z consumers. Drawing upon symbolic consumption theory, visual narrative theory, and participatory culture theory, this study analyses three representative Chinese SCA campaigns to identify core design mechanisms. This phase forms part of a larger doctoral project and contributes both theoretically\u0026mdash;by reinterpreting SCA through a symbolic-visual lens\u0026mdash;and practically by offering actionable insights for advertisers aiming to engage youth audiences in meaningful behavioural change.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e"},{"header":"2. Literature Review and Conceptual Framework","content":"\u003cdiv id=\"Sec3\" class=\"Section2\"\u003e\u003ch2\u003e2.1. Defining Sustainable Consumption Advertising (SCA)\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eWe hold the view that the concept of sustainable consumption advertising (SCA) is conceptualised as an integrated communication strategy aimed at bridging the gap between consumers\u0026rsquo; pro-sustainability attitudes and their actual purchasing behaviours (Hua et al., \u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e2020\u003c/span\u003e). Whether it is a commercial advertisement or a public welfare advertisement in which a brand participates, advertising often prioritises short-term economic gains, inadvertently reinforcing materialistic values (Ye and Zhang, \u003cspan citationid=\"CR34\" class=\"CitationRef\"\u003e2018\u003c/span\u003e). In contrast, SCA leverages symbolic consumption, cultural narratives, and digital engagement to align sustainability messages with consumer identities (Yang, \u003cspan citationid=\"CR31\" class=\"CitationRef\"\u003e2020\u003c/span\u003e). This approach ensures that sustainability is not merely portrayed as an individual responsibility but is embedded within the formation of social identity. While traditional sustainable advertising models typically rely on rational appeals, corporate transparency, and eco-labelling strategies, China\u0026rsquo;s unique socio-economic and cultural environment landscape necessitates a different approach (Rahman et al., \u003cspan citationid=\"CR23\" class=\"CitationRef\"\u003e2023\u003c/span\u003e). Cultural symbols, participatory digital platforms, and collective identity construction reflect China\u0026rsquo;s distinctive policy\u0026ndash;market hybrid economy, where state interventions and consumer activism interact to shape sustainability narratives (Li et al., \u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e2022\u003c/span\u003e).\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec4\" class=\"Section2\"\u003e\u003ch2\u003e2.2. China\u0026rsquo;s Generation Z: Digital Natives and Cultural Custodians\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eChina\u0026rsquo;s Generation Z plays a pivotal role in driving sustainability and catalysing digital engagement (Xie and Wang, \u003cspan citationid=\"CR30\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). Unlike previous generations who passively received advertisements, Gen Z actively interacts with marketing through gamified participation, social validation, and influencer-driven storytelling (Yang and Chen, \u003cspan citationid=\"CR33\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). They exhibit a preference for interactive, personalised, and visually immersive content, necessitating a departure from traditional SCA approaches. To effectively engage this demographic, SCA must incorporate participatory digital strategies, including gamification, influencer storytelling, and user-generated content (Ren, \u003cspan citationid=\"CR24\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). Digital platforms enhance information retention and consumer agency, positioning sustainability as a socially expected lifestyle choice rather than a corporate-imposed duty (Kadic-Maglajlic et al., \u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e2019\u003c/span\u003e). Moreover, peer validation mechanisms on social media play a crucial role in reinforcing eco-friendly behaviours and embedding sustainability within identity formation (He, \u003cspan citationid=\"CR12\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). However, Gen Z is also highly sceptical of commercialised sustainability narratives, often rejecting corporate greenwashing efforts (Zhu, \u003cspan citationid=\"CR36\" class=\"CitationRef\"\u003e2020\u003c/span\u003e). Therefore, SCA must embed sustainability within culturally authentic identity markers to establish legitimacy and perceived value (Yang, \u003cspan citationid=\"CR31\" class=\"CitationRef\"\u003e2020\u003c/span\u003e).\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec5\" class=\"Section2\"\u003e\u003ch2\u003e2.3. Sustainable Consumption Advertising in the Chinese Context\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eDespite extensive research on sustainable advertising, much of it remains Western-centric, overlooking the unique dynamics of China\u0026rsquo;s hybrid economy (UNEP et al., \u003cspan citationid=\"CR28\" class=\"CitationRef\"\u003e2017\u003c/span\u003e). This study addresses this gap by proposing the reconceptualisation of sustainability as a participatory ecosystem. Unlike Western SCA models that emphasise individual responsibility and corporate transparency, China\u0026rsquo;s advertising landscape is shaped by state-driven environmental policies and digital collectivism (Li et al., \u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). This policy\u0026ndash;market hybrid structure fosters participatory digital ecosystems, making it possible for sustainable consumption to become a collective cultural norm. Symbolic consumption, driven by social identity rather than functional needs, plays a central role in shaping young consumers\u0026rsquo; perceptions of sustainability (Sheng and Yue, \u003cspan citationid=\"CR26\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). China\u0026rsquo;s unique cultural and political milieu offers an opportunity for symbolic advertising to link environmental behaviours with national identity, social belonging, and collective responsibility, thereby enhancing consumer well-being. Our studies indicate that Chinese sustainability campaigns are most persuasive when they incorporate cultural symbols, heritage narratives, and collective action messages. Digital peer influence and social networks amplify these sustainability messages, particularly among Gen Z audiences who actively engage in social media-driven sustainability discussions. Successful sustainability initiatives should position sustainability as both a moral obligation and a socially expected behaviour, reinforcing cultural identity while leveraging digital engagement mechanisms (Gu et al., \u003cspan citationid=\"CR10\" class=\"CitationRef\"\u003e2024\u003c/span\u003e).\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec6\" class=\"Section2\"\u003e\u003ch2\u003e2.4. Theoretical Proposition and Conceptual Framework\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eBuilding upon the preceding literature, this study proposes that effective sustainable consumption advertising (SCA) for China\u0026rsquo;s Generation Z should integrate symbolic communication, visual storytelling, and participatory interaction to activate identity-based engagement and promote behavioural change. Specifically, the conceptual foundation of this study rests on a multi-dimensional theoretical model comprising three interrelated perspectives: symbolic consumption, visual narrative, and participatory culture.\u003c/p\u003e\u003cp\u003eFirst, drawing from symbolic consumption theory (Baudrillard, \u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e1998\u003c/span\u003e; Nwankwo, \u003cspan citationid=\"CR22\" class=\"CitationRef\"\u003e1973\u003c/span\u003e), consumption is understood not merely as functional, but as a symbolic act that expresses identity, status, and subcultural affiliation. In the Chinese context, this is particularly relevant for Gen Z, whose purchasing behaviour is often shaped by symbolic values encoded in aesthetic, ideological, or cultural forms (Guo and Xiang, \u003cspan citationid=\"CR11\" class=\"CitationRef\"\u003e2015\u003c/span\u003e; Yang, \u003cspan citationid=\"CR33\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). SCA, when reframed as symbolic advertising, can embed sustainability within desirable lifestyles and identity narratives that resonate with youth subcultures.\u003c/p\u003e\u003cp\u003eSecond, informed by visual narrative theory and cultural semiotics (Barthes, \u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1979\u003c/span\u003e; De Burgh-Woodman and Brace‐Govan, \u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e2008\u003c/span\u003e), this study views sustainable messaging as a culturally coded form of communication. Visual metaphors, aesthetic codes, and intertextual references enable abstract ecological concepts to be translated into affective and culturally resonant messages. In SCA, visual narratives serve to anchor sustainability in culturally specific imagery and emotional storytelling, thereby enhancing narrative immersion.\u003c/p\u003e\u003cp\u003eThird, this framework incorporates participatory culture theory (Carpentier, \u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e2011\u003c/span\u003e), which emphasises the shift from passive message reception to interactive meaning-making. For China\u0026rsquo;s digitally native Gen Z, engagement is shaped by social media logic, user-generated content, and co-creation. Embedding participatory mechanisms into SCA\u0026mdash;such as gamification, social sharing, or subcultural collaboration\u0026mdash;can catalyse peer-led diffusion and behavioural reinforcement.\u003c/p\u003e\u003cp\u003eAs shown in Fig.\u0026nbsp;\u003cspan refid=\"Fig1\" class=\"InternalRef\"\u003e1\u003c/span\u003e, these three perspectives\u0026mdash;symbolic, visual, and participatory\u0026mdash;are synthesised into a conceptual model that positions SCA as a form of culturally embedded symbolic advertising. The theoretical proposition emerging from this model is as follows:\u003c/p\u003e\u003cp\u003eSustainable consumption advertising that integrates symbolic representation, immersive visual storytelling, and participatory engagement is more likely to resonate with China\u0026rsquo;s Generation Z, strengthen identity alignment, and encourage pro-environmental behavioural change.\u003c/p\u003e\u003cp\u003eThis theoretical lens informs the case selection, thematic coding, and comparative analysis undertaken in the following sections. It also establishes the conceptual foundation for the SCA\u0026ndash;SVI framework proposed in this study, contributing to a more culturally grounded and design-oriented understanding of sustainability communication.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e"},{"header":"3. Methods","content":"\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThis study constitutes the second phase of a broader doctoral research project aimed at developing an innovative advertising design framework for enhancing sustainable consumption among China\u0026rsquo;s Generation Z. Grounded in Yin\u0026rsquo;s (\u003cspan citationid=\"CR35\" class=\"CitationRef\"\u003e2017\u003c/span\u003e) multiple-case study methodology, this phase employs a qualitative comparative case study approach to investigate how symbolic, visual, and participatory strategies are operationalised in sustainable consumption advertising (SCA) campaigns targeting young Chinese audiences.\u003c/p\u003e\u003cp\u003eThe research builds upon findings from the first phase, which involved a nationwide survey of 414 Gen Z respondents. That quantitative stage explored aesthetic preferences, media engagement behaviours, and motivational drivers in relation to sustainable consumption, offering foundational insights into how design elements influence young consumers\u0026rsquo; attention and intention. Informed by these results and a comprehensive literature review, a conceptual framework\u0026mdash;the Symbolic\u0026ndash;Visual\u0026ndash;Interactional (SVI) model\u0026mdash;was developed. This three-dimensional framework identifies symbolic resonance, immersive visual storytelling, and participatory engagement as key mechanisms of effective SCA.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cdiv id=\"Sec8\" class=\"Section2\"\u003e\u003ch2\u003e3.1. Case Selection and Sampling Criteria\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eIn accordance with the conceptual framework, three advertising campaigns were purposively selected to reflect diversity in institutional type and communication approach, while sharing thematic alignment around sustainable consumption. The three cases are as follows:\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003col\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003eAnt Forest (Alipay)\u0026mdash;A gamified public-interest platform embedded in a commercial app, promoting low-carbon actions through symbolic visualisations and digital rewards.\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003eLetters to the Earth (FOTILE)\u0026mdash;A corporate campaign that integrates ecological technology and emotional storytelling, aligning brand identity with environmental consciousness.\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003eBuy the Hell Out (Central Academy of Fine Arts)\u0026mdash;An experimental graduation design project by a Gen Z student using symbolic provocation and minimalist aesthetics to critique overconsumption.\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003c/ol\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThese cases were selected based on three key criteria:\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003col\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003eThematic relevance: Alignment with the goals of SDG 12 (responsible consumption and production).\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003eRecognition and visibility: Receipt of national/institutional attention, awards, or documented industry influence.\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003eYouth engagement: Demonstrated resonance with China\u0026rsquo;s Gen Z consumers, reflected in social media visibility, peer-to-peer circulation, or user-generated interaction.\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003c/ol\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eTogether, these cases represent a spectrum of SCA practices\u0026mdash;platform-based public engagement, brand-driven corporate communication, and independent design critique\u0026mdash;providing a robust basis for comparative insight into how symbolic and visual strategies shape pro-environmental attitudes and behaviours.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec9\" class=\"Section2\"\u003e\u003ch2\u003e3.2. Data Collection and Sources\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eTo develop a comprehensive understanding of each sustainable consumption advertising (SCA) campaign, this study employed a multi-source qualitative data collection strategy. The first category of data comprised advertising artefacts, including videos, posters, slogans, design elements, and official website descriptions, which were used to assess the campaigns\u0026rsquo; symbolic and narrative structures. Social media interactions were also collected from platforms such as Weibo, Xiaohongshu, and WeChat. These data included hashtags, repost trends, user commentaries, and influencer endorsements, providing insight into audience engagement and participatory behaviours. In addition, user-generated content (UGC), such as memes, remixes, and interpretive texts, offered evidence of how audiences responded to or reinterpreted the campaigns, reflecting the bottom\u0026ndash;up dynamics of meaning-making. Finally, institutional and contextual materials\u0026mdash;including campaign press releases, award citations, media coverage, and designer portfolios (particularly in the CAFA case)\u0026mdash;provided essential background on strategic intent, brand positioning, and communication goals.\u003c/p\u003e\u003cp\u003eAll materials were compiled into a structured database using a standardised documentation template (see Table\u0026nbsp;\u003cspan refid=\"Tab1\" class=\"InternalRef\"\u003e1\u003c/span\u003e), which ensured consistency and traceability across cases and facilitated the subsequent stages of thematic and comparative analysis. Detailed documentation for each campaign is provided in Appendices A\u0026ndash;C.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab1\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 1\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eStandardised template for SCA material collection.\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"3\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eAttribute\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eOperational Description\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eTheoretical Dimension\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eCampaign Title\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eOfficial name of the sustainable consumption advertising (SCA) campaign\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u0026mdash;\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eOrganisational Actor\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eEntity responsible for the campaign: platform, corporate brand, or educational institution\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u0026mdash;\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eLaunch Period\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eYear of campaign launch and duration of primary activity\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u0026mdash;\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eSustainability Focus\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eEnvironmental or behavioural aspect addressed (e.g., low-carbon lifestyle, anti-consumerism)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u0026mdash;\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eTarget Audience\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eDemographics and psychographics of Gen Z consumers targeted by the campaign\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u0026mdash;\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eMedia Channels\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eMedia platforms used for dissemination (e.g., WeChat, Taobao, TV, exhibitions)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eParticipatory\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eCore Message\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eMain persuasive claim or sustainability theme conveyed\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eParticipatory\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eVisual Strategy\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eKey visual metaphors, colour schemes, design aesthetics, and visual tone\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eVisual\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eSymbolic Representation\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eUse of cultural/subcultural/ideological symbols and metaphors that resonate with Gen Z identity\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eSymbolic\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eDigital Engagement Types\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eModes of interactivity: gamification, influencer involvement, co-creation, hashtag use, etc.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eParticipatory\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eUser Participation Metrics\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eIndicators of reach and resonance, such as UGC volume, social shares, likes, comments, and virality\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eParticipatory\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eAwards and Recognition\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eIndustry credibility: received national/international recognition, awards, or media citations\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u0026mdash;\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cb\u003eAdditional Notes\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eResearcher observations, unique cultural features, controversies, or limitations relevant to the campaign\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u0026mdash;\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec10\" class=\"Section2\"\u003e\u003ch2\u003e3.3. Analytical Procedures\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThe analytical process adhered to Braun and Clarke\u0026rsquo;s (\u003cspan citationid=\"CR4\" class=\"CitationRef\"\u003e2012\u003c/span\u003e) six-phase thematic analysis framework. This involved initial familiarisation with the raw materials, followed by systematic open coding to identify meaningful patterns and recurring motifs. Themes were then generated and refined based on theoretical alignment, reviewed for coherence, and finally structured into clearly defined categories for interpretation.\u003c/p\u003e\u003cp\u003eThematic coding was conducted manually and iteratively by the author, using axial coding principles. To enhance analytic validity, initial codes were reviewed by an independent researcher familiar with qualitative media studies. Discrepancies were resolved through discussion.\u003c/p\u003e\u003cp\u003eThree key analytical dimensions guided this process: symbolic meaning, narrative structure, and participatory engagement. The symbolic dimension focused on elements such as metaphors, iconography, and identity-related representations. The narrative dimension captured how messages were structured through plot devices, temporal sequencing, or culturally situated storytelling strategies. The participatory dimension examined how audiences were invited into the campaigns through interactivity, user co-creation, and platform-driven dissemination.\u003c/p\u003e\u003cp\u003eBuilding on the thematic findings from each case, a cross-case comparative synthesis was conducted to examine how symbolic\u0026ndash;visual mechanisms varied or converged across the campaigns. This synthesis aimed to identify recurring design principles conducive to fostering sustainability engagement among China\u0026rsquo;s Generation Z. This synthesis provided the foundation for the analytical categories presented in the Results and Discussion Section, where the interrelationships among symbolic strategies, visual narratives, and participatory mechanisms are systematically unpacked.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e"},{"header":"4. Results","content":"\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThis section applies the Symbolic\u0026ndash;Visual\u0026ndash;Immersive (SCA\u0026ndash;SVI) framework to critically examine how three Chinese sustainable consumption advertising (SCA) campaigns\u0026mdash;Ant Forest, Letters to the Earth, and Buy the Hell Out\u0026mdash;construct sustainability through symbolic encoding, visual narration, and participatory engagement. Rather than describing campaign features, the analysis interrogates how sustainability is reconstituted as a culturally coded, emotionally resonant, and socially endorsed identity practice within China\u0026rsquo;s Gen Z media ecology. By unpacking the symbolic meanings, narrative structures, and interactive dynamics embedded in each case, the analysis reveals both the persuasive potential and structural limitations of symbolic advertising in translating pro-environmental values into behavioural norms. The discussion proceeds case by case, culminating in a cross-case synthesis that refines the theoretical implications of the SCA\u0026ndash;SVI model.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cdiv id=\"Sec12\" class=\"Section2\"\u003e\u003ch2\u003e4.1. Ant Forest\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eAnt Forest, launched by Ant Financial Services Group in 2016, exemplifies a digitally integrated sustainable consumption advertising (SCA) initiative that bridges symbolic engagement and behavioural transformation. Embedded within the Alipay ecosystem, the programme transforms individual low-carbon actions\u0026mdash;such as using public transport or mobile transactions\u0026mdash;into gamified symbolic gestures through the accumulation of \u0026ldquo;green energy\u0026rdquo;. These symbolic actions are visualised as growing virtual trees, which correspond to real trees planted in arid regions of China, thereby constructing a tangible metaphor that connects personal action with collective ecological impact. As of 2024, the campaign has engaged over 600\u0026nbsp;million users and is widely recognised for its role in mainstreaming sustainability narratives within China\u0026rsquo;s platform economy. Rather than positioning sustainability as a rational duty, Ant Forest reconstructs it as an emotionally charged, socially endorsed, and digitally gamified identity practice.\u003c/p\u003e\u003cp\u003eThis case was thematically analysed along four interlinked dimensions: gamified motivation, social identity, visual storytelling, and digital ecosystem integration. These dimensions correspond, respectively, to the participatory, symbolic, and visual mechanisms proposed in the SCA\u0026ndash;SVI framework.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cdiv id=\"Sec13\" class=\"Section3\"\u003e\u003ch2\u003e4.1.1. Motivating Through Gamification\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eAnt Forest operationalises sustainability through an intricate gamification system that converts low-carbon behaviours\u0026mdash;such as walking, cycling, or digital payments\u0026mdash;into accumulative \u0026ldquo;green energy\u0026rdquo; points. These points function both as behavioural feedback and symbolic currency within the app\u0026rsquo;s interface, where users cultivate virtual trees that later correspond to real-world afforestation efforts. This interface, as shown in Fig.\u0026nbsp;\u003cspan refid=\"Fig2\" class=\"InternalRef\"\u003e2\u003c/span\u003e, not only visualises environmental contributions but reinforces repeated engagement through a sense of progression, achievement, and social comparison.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eFrom a participatory culture perspective (Jenkins, \u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e2016\u003c/span\u003e), such design mechanisms do not merely incentivise action\u0026mdash;they reconfigure everyday behaviours into ritualised performances within a platform-mediated ecology. The green energy system becomes a symbolic structure in itself, codifying sustainable action as a personal asset and social signal. Leaderboards, level-ups, and interactive animations serve as gamified feedback loops that tap into Gen Z\u0026rsquo;s need for instant gratification and visible social progress.\u003c/p\u003e\u003cp\u003eThe logic of gamification in this context mirrors what Kadic-Maglajlic et al. (\u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e2019\u003c/span\u003e) describe as \u0026ldquo;engagement by design\u0026rdquo;, where user motivation is sustained through behavioural scaffolding rather than critical reflection. While this approach effectively drives environmental micro-behaviours, it also risks instrumentalising sustainability as a reward-oriented task, rather than nurturing intrinsic ecological values. As Jahari et al. (\u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e2022\u003c/span\u003e) warn, such systems may reinforce external compliance without cultivating long-term attitudinal change, particularly when users disengage from platforms or lose novelty interest.\u003c/p\u003e\u003cp\u003eCritically, the symbolic abstraction of ecological contribution into quantifiable units reflects a deeper neoliberal logic\u0026mdash;where sustainability is not pursued as a shared moral imperative, but gamified into individualised digital habits. The interface\u0026rsquo;s cheerful visual rhetoric conceals the structural inequalities of platform governance and environmental degradation, reducing sustainability to a playful, frictionless, and highly mediatized form of self-optimisation.\u003c/p\u003e\u003cp\u003eIn sum, Ant Forest\u0026rsquo;s gamification model exemplifies how participatory infrastructures can successfully mobilise pro-environmental behaviours through symbolic and behavioural incentives. However, this model simultaneously commodifies ecological engagement, raising important questions about the limits of platform-based sustainability and the long-term viability of reward-driven behavioural change.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec14\" class=\"Section3\"\u003e\u003ch2\u003e4.1.2. Networked Belonging and Symbolic Identity\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eBeyond its behavioural incentives, Ant Forest constructs a digitally mediated sense of environmental identity through mechanisms of social collaboration and peer visibility. Users are encouraged to \u0026ldquo;co-plant\u0026rdquo; trees with friends, exchange green energy, and form environmental alliances with family or romantic partners. These features\u0026mdash;illustrated in Fig.\u0026nbsp;\u003cspan refid=\"Fig3\" class=\"InternalRef\"\u003e3\u003c/span\u003e\u0026mdash;foster what Carpentier (\u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e2011\u003c/span\u003e) refers to as \u0026ldquo;minimalist participation\u0026rdquo;, where symbolic gestures of collaboration produce a sense of networked belonging without requiring deep deliberation or structural critique.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eWithin this symbolic economy, sustainable behaviour becomes performative and identity-driven. Profile badges, achievement medals, and sharable milestones serve as semiotic tokens through which users signal ecological consciousness within their social networks. Participation is no longer purely instrumental; it is recoded as a form of cultural capital. In this context, Ant Forest aligns with Sheng and Yue\u0026rsquo;s (\u003cspan citationid=\"CR26\" class=\"CitationRef\"\u003e2022\u003c/span\u003e) conception of symbolic consumption among China\u0026rsquo;s Gen Z, where everyday actions are saturated with communicative function and socially recognised meaning.\u003c/p\u003e\u003cp\u003eThis transformation of ecological action into public-facing identity markers reflects a shift from individual moral responsibility to collective symbolic affiliation. Users do not simply \u0026ldquo;do good\u0026rdquo;\u0026mdash;they are seen to do good, within a gamified space that validates their actions through metrics and social feedback. As Yang (\u003cspan citationid=\"CR31\" class=\"CitationRef\"\u003e2020\u003c/span\u003e) notes, digital-native consumers construct their sense of belonging through repeated symbolic performances that align personal identity with group norms and cultural narratives.\u003c/p\u003e\u003cp\u003eYet this process raises critical questions about depth versus display. While Ant Forest succeeds in normalising sustainability through symbolic visibility, it also risks flattening environmental ethics into stylised self-branding. When pro-environmental action is primarily motivated by peer recognition or gamified reward, symbolic participation may mask superficial engagement. The performative display of digital environmentalism\u0026mdash;\u0026ldquo;click-to-care\u0026rdquo; or \u0026ldquo;badge-based virtue\u0026rdquo;\u0026mdash;may function more as identity affirmation than as sustained ecological commitment.\u003c/p\u003e\u003cp\u003eUltimately, Ant Forest exemplifies how symbolic infrastructures within digital platforms construct a sense of eco-identity and social belonging. By translating ecological participation into culturally legible symbols and peer-validated expressions, the campaign mobilises sustainability as a lifestyle aesthetic and shared value. However, its reliance on symbolic visibility over critical reflexivity underscores the tension between behavioural engagement and ideological depth in platform-based environmental campaigns.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec15\" class=\"Section3\"\u003e\u003ch2\u003e4.1.3. Visual Metaphors and Emotive Sustainability Framing\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eA core feature of Ant Forest\u0026rsquo;s persuasive strategy lies in its visual narrative infrastructure. The campaign deploys emotionally charged visual metaphors\u0026mdash;most notably, the transformation of abstract \u0026ldquo;green energy\u0026rdquo; into animated virtual saplings that eventually become real trees planted in arid regions. As depicted in Fig.\u0026nbsp;\u003cspan refid=\"Fig4\" class=\"InternalRef\"\u003e4\u003c/span\u003e, this metaphor operates simultaneously on aesthetic, emotional, and symbolic levels, linking individual digital participation with tangible ecological restoration.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eDrawing on Barthes\u0026rsquo; (\u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1979\u003c/span\u003e) semiotic theory, the virtual tree serves as a mythologised signifier that naturalises the relationship between everyday action and environmental impact. The growth of a tree, long embedded in Chinese cultural symbolism as a sign of renewal and moral cultivation, is repurposed here as a digital index of environmental virtue. This metaphorical chain enables users to see themselves as ecological agents within a visual system that confirms their impact in real time.\u003c/p\u003e\u003cp\u003eAt the affective level, the narrative arc is designed to foster emotional resonance and narrative immersion. The visual progression\u0026mdash;from seedling to mature tree\u0026mdash;mirrors a journey of personal contribution and communal progress. As Rahman et al. (\u003cspan citationid=\"CR23\" class=\"CitationRef\"\u003e2023\u003c/span\u003e) suggest, emotionally relevant framing enhances the retention and internalisation of sustainability messages, particularly when users are offered narrative closure or moral reward. Ant Forest\u0026rsquo;s visual dramaturgy aligns with this principle by providing users with a story structure in which they are not merely consumers, but protagonists of environmental change.\u003c/p\u003e\u003cp\u003eHowever, the affective power of visual storytelling also introduces a degree of abstraction and simplification. While users can witness their \u0026ldquo;green energy\u0026rdquo; growing into a tree on screen, the complex ecological and institutional processes involved in actual afforestation are obscured. This \u0026ldquo;visual compression\u0026rdquo; risks creating a hyper-personalised and overly optimistic portrayal of environmental efficacy. As Li (\u003cspan citationid=\"CR18\" class=\"CitationRef\"\u003e2022\u003c/span\u003e) caution, overly aestheticised sustainability narratives can depoliticise structural issues, promoting emotional satisfaction over critical awareness.\u003c/p\u003e\u003cp\u003eIn essence, Ant Forest succeeds in visualising sustainability in ways that are symbolically rich and emotionally compelling. By translating abstract ecological values into familiar cultural metaphors and narrative forms, the campaign constructs an immersive visual experience that facilitates intuitive understanding and personal identification. Yet, this emotional and aesthetic immediacy may also veil the political and material complexities of environmental action, highlighting the dual edge of visual persuasion in platform-based ecological communication.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec16\" class=\"Section3\"\u003e\u003ch2\u003e4.1.4. Systemic Integration and Participatory Infrastructure\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eWhat distinguishes Ant Forest from conventional sustainability campaigns is its deep integration into the broader Alipay ecosystem, which allows environmental behaviours to become embedded in the digital routines of everyday life. Through seamless data capture from activities such as e-payment, ride-sharing, and step tracking, the platform generates \u0026ldquo;green energy\u0026rdquo; without requiring conscious behavioural shifts. This frictionless participation model\u0026mdash;illustrated in Fig.\u0026nbsp;\u003cspan refid=\"Fig5\" class=\"InternalRef\"\u003e5\u003c/span\u003e\u0026mdash;operates as a systemic infrastructure that normalises sustainable action by minimising cognitive effort.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eFrom a media infrastructural perspective, this integration exemplifies what Trindade (\u003cspan citationid=\"CR27\" class=\"CitationRef\"\u003e2019\u003c/span\u003e) calls the \u0026ldquo;deep mediatization\u0026rdquo; of social life, wherein platforms do not merely mediate behaviour but configure its very conditions of possibility. Ant Forest\u0026rsquo;s architecture transforms private consumption data into collective ecological contributions, recasting sustainability as an ambient digital condition rather than a deliberate ethical choice. In this system, ecological participation becomes a background process\u0026mdash;passively activated yet publicly rewarded.\u003c/p\u003e\u003cp\u003eThe participatory affordances of the platform are further extended through cross-sector collaborations, including co-branded green product initiatives, corporate carbon offset schemes, and partnerships with state forestry programmes. These alliances expand the campaign\u0026rsquo;s symbolic and material impact, but also consolidate its position within China\u0026rsquo;s platform-state nexus. As the United Nations Environment Programme (UNEP et al., \u003cspan citationid=\"CR28\" class=\"CitationRef\"\u003e2017\u003c/span\u003e) notes, cross-platform and cross-sectoral integration is a powerful lever for scaling sustainability\u0026mdash;but it also centralises control over how environmental values are defined, measured, and monetised.\u003c/p\u003e\u003cp\u003eThis raises critical questions about platform governance and environmental subjectivity. While Ant Forest enables low-barrier participation and aligns with users\u0026rsquo; digital habits, it also reinforces a technocratic model in which ecological citizenship is algorithmically managed, gamified, and scored. Users are invited to care\u0026mdash;but only within the pre-scripted parameters of the platform. The risk, as Li (\u003cspan citationid=\"CR18\" class=\"CitationRef\"\u003e2022\u003c/span\u003e) argue, is that sustainability becomes domesticated into metrics and milestones, disconnected from structural critique or grassroot mobilisation.\u003c/p\u003e\u003cp\u003eThus, while Ant Forest exemplifies an advanced model of participatory infrastructure that effectively mobilises Gen Z users, it also reveals the paradoxes of platform-driven sustainability: high engagement but low reflexivity; symbolic empowerment but systemic opacity. As a sociotechnical system, it invites participation while delimiting agency, offering an accessible entry point into ecological behaviour, but on tightly managed terms.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec17\" class=\"Section3\"\u003e\u003ch2\u003e4.1.5. Summary\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThe Ant Forest campaign demonstrates how sustainability can be rearticulated as platform-mediated identity performance through the integration of symbolic meaning-making, visual metaphor, and participatory infrastructure. It exemplifies the symbolic\u0026ndash;visual\u0026ndash;immersive logic proposed in the SCA\u0026ndash;SVI framework, wherein ecological action is gamified, socially endorsed, and emotionally visualised within a frictionless media environment.\u003c/p\u003e\u003cp\u003eHowever, this systematised model of engagement\u0026mdash;while behaviourally effective\u0026mdash;risks reducing sustainability to a quantifiable, self-referential cycle of symbolic performance. The case thus reveals how platform-based sustainability campaigns, while effective in mobilising symbolic participation among Gen Z, may ultimately constrain ecological agency within a closed circuit of behavioural automation and identity performance.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003c/div\u003e\u003cdiv id=\"Sec18\" class=\"Section2\"\u003e\u003ch2\u003e4.2. Letters to the Earth\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eIn contrast to the platform-centric mechanics of Ant Forest, the Letters to the Earth campaign by FOTILE adopts a narrative-centric approach, weaving sustainability into emotionally resonant, culturally anchored storytelling. Rather than gamifying action, the campaign evokes intergenerational memory, heritage values, and affective identification to position sustainability as an ethical and aesthetic commitment rooted in Chinese cultural imaginaries.\u003c/p\u003e\u003cp\u003eLeveraging emotionally intimate narratives, ecological technologies, influencer credibility, and cross-brand alliances, the campaign constructs a multi-layered symbolic field where environmental responsibility becomes a mode of cultural belonging. Through this lens, sustainability is not merely promoted as a behaviour, but performed as a culturally valued moral orientation.\u003c/p\u003e\u003cp\u003eThe following analysis dissects four key mechanisms\u0026mdash;emotive storytelling, technological naturalisation, peer validation, and brand synergy\u0026mdash;to examine how the campaign activates symbolic and visual strategies in alignment with the SCA\u0026ndash;SVI framework. Particular attention is given to the integration of cultural codes, heritage metaphors, and authenticity discourses in producing an affect-driven model of sustainable consumption advertising.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cdiv id=\"Sec19\" class=\"Section3\"\u003e\u003ch2\u003e4.2.1. Affective Narratives and Cultural Anchoring\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eAt the core of Letters to the Earth lies a narrative strategy that embeds sustainability within affect-laden, culturally grounded stories. Rather than positioning sustainability as a behavioural instruction or digital task, the campaign constructs it as an inherited ethical orientation\u0026mdash;deeply tied to place, memory, and intergenerational continuity. Drawing from motifs such as reforestation in the Three-North Shelterbelt, wetland conservation, and traditional craft revival, the campaign deploys emotionally charged micro-narratives that locate ecological care within familiar cultural topographies. As shown in Fig.\u0026nbsp;\u003cspan refid=\"Fig6\" class=\"InternalRef\"\u003e6\u003c/span\u003e, visual materials\u0026mdash;such as handwritten letters, intimate voice-overs, and cinematic portrayals of rural landscapes\u0026mdash;are mobilised to evoke a sense of belonging and moral duty.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThis narrative modality resonates with Barthesian (Barthes, \u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1979\u003c/span\u003e) semiotics in its use of culturally pre-coded signs\u0026mdash;family, soil, rivers, and ancestors\u0026mdash;as symbolic anchors through which abstract environmental concerns are rendered immediate and personal. The letter as a communicative form itself signifies sincerity, memory, and intimacy, offering a stark contrast to the fast-paced, quantifiable engagement seen in platform-based models like Ant Forest. In this context, storytelling functions not merely as a rhetorical device but as a moral infrastructure, constructing sustainability as a matter of renqing (human sentiment) and cultural inheritance.\u003c/p\u003e\u003cp\u003eFrom a visual narrative theory perspective (De Burgh-Woodman and Brace‐Govan, \u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e2008\u003c/span\u003e), the campaign\u0026rsquo;s emotive aesthetic\u0026mdash;soft colour palettes, close-up textures, and slow pacing\u0026mdash;facilitates narrative immersion, allowing viewers to inhabit the temporal and emotional worlds of ecological protagonists. Unlike didactic PSAs or commercial ads, Letters to the Earth avoids overt persuasion; instead, it invites reflective empathy and affective resonance, aligning sustainable action with moral sensibility rather than consumer rationality.\u003c/p\u003e\u003cp\u003eYet this narrative intimacy also invites critical scrutiny. As Rahman et al. (\u003cspan citationid=\"CR23\" class=\"CitationRef\"\u003e2023\u003c/span\u003e) caution, culturally embedded emotional appeals can essentialise identity and moralise consumption in ways that obscure structural causes of environmental harm. By locating sustainability within nostalgic and idealised rural imaginaries, the campaign risks aestheticising ecological discourse and displacing urgency with sentimentality. Moreover, the emphasis on inherited virtue may alienate urban Gen Z viewers less connected to such cultural symbols, thereby limiting cross-demographic reach.\u003c/p\u003e\u003cp\u003eNevertheless, Letters to the Earth exemplifies how affective storytelling\u0026mdash;when grounded in cultural semiotics\u0026mdash;can expand the symbolic repertoire of sustainability communication. Through carefully crafted visual metaphors and emotionally saturated narratives, the campaign constructs a symbolic terrain where ecological care is not only communicated but culturally naturalised.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec20\" class=\"Section3\"\u003e\u003ch2\u003e4.2.2. Technological Naturalisation and Everyday Ethics\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eWhile Letters to the Earth foregrounds cultural narrative, it simultaneously integrates ecological technology as a visual and symbolic device for reinforcing sustainable values in everyday life. The campaign showcases FOTILE\u0026rsquo;s environmentally conscious appliances\u0026mdash;high-efficiency hoods, water-saving dishwashers, and energy-optimised gas hobs\u0026mdash;not merely as products but as mediators of ethical consumption. These technologies are framed not in technical terms but as enablers of ecological care within the domestic sphere. As illustrated in Fig.\u0026nbsp;\u003cspan refid=\"Fig7\" class=\"InternalRef\"\u003e7\u003c/span\u003e, their presentation within narrative vignettes\u0026mdash;set in family kitchens, rural households, and natural landscapes\u0026mdash;imbues them with moral valence and cultural resonance.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThis integration aligns with what Kelleci and Yıldız (\u003cspan citationid=\"CR17\" class=\"CitationRef\"\u003e2021\u003c/span\u003e) describe as \u0026ldquo;value-aligned product semiotics\u0026rdquo;, whereby sustainable features are embedded in design narratives that symbolically link technical performance to broader ecological commitments. Here, the visual framing of appliances transcends utilitarian messaging: clean air, water, and energy efficiency become semiotic stand-ins for intergenerational protection, maternal care, and respect for nature. The product becomes a moral object, encoded with social responsibility.\u003c/p\u003e\u003cp\u003eFrom a symbolic consumption perspective (Baudrillard, \u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e1998\u003c/span\u003e), such technological objects are no longer valued purely for use\u0026mdash;they serve as cultural texts through which ethical identity is performed. In Letters to the Earth, the appliance is re-signified as an ethical interface, mediating the relationship between consumer subjectivity and planetary stewardship. Sustainability is thus not merely a policy directive but a tangible, habitual practice\u0026mdash;ritualised through consumption.\u003c/p\u003e\u003cp\u003eHowever, this naturalisation of technology within moral discourse also merits scrutiny. As Veronica (\u003cspan citationid=\"CR29\" class=\"CitationRef\"\u003e2016\u003c/span\u003e) cautions, the seamless alignment of brand, ethics, and ecology may risk depoliticising sustainability, transforming structural challenges into solvable design problems. The campaign\u0026rsquo;s aestheticisation of green innovation may obscure the environmental externalities of production, the class-based accessibility of such technologies, or the technocratic framing of ecological responsibility. In this context, the symbolic coupling of ecological ethics with premium appliances may inadvertently reinforce socio-economic exclusions.\u003c/p\u003e\u003cp\u003eNonetheless, Letters to the Earth offers a compelling example of how environmental technologies can be semiotically repositioned\u0026mdash;not as isolated innovations but as embodied moral agents. Through visual storytelling and symbolic alignment, the campaign positions ecological design as a culturally legitimate and emotionally desirable expression of everyday ethics.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec21\" class=\"Section3\"\u003e\u003ch2\u003e4.2.3. Mediated Credibility and Peer Legitimacy\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eA central component of Letters to the Earth lies in its mobilisation of mediated credibility\u0026mdash;anchored in the public persona of actor Chen Kun, whose involvement functions as a symbolic bridge between brand advocacy and civic trust. As a long-time environmental ambassador and social welfare advocate, Chen\u0026rsquo;s handwritten letter\u0026mdash;widely circulated on Weibo and WeChat\u0026mdash;lends the campaign an aura of authenticity and emotional sincerity. His public image, built around introspection and moral clarity, reinforces the message that sustainability is not only aspirational but personal. As shown in Fig.\u0026nbsp;\u003cspan refid=\"Fig8\" class=\"InternalRef\"\u003e8\u003c/span\u003e, the visualisation of Chen\u0026rsquo;s \u0026ldquo;letter to the earth\u0026rdquo; reconfigures a celebrity endorsement into a performative act of ethical self-disclosure.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThis strategy aligns with He\u0026rsquo;s (\u003cspan citationid=\"CR12\" class=\"CitationRef\"\u003e2022\u003c/span\u003e) observation that China\u0026rsquo;s Generation Z places high value on emotional congruence and perceived authenticity in their interaction with public figures. Unlike conventional influencer marketing that leverages attention economies, Letters to the Earth constructs a parasocial intimacy, where the spokesperson is not merely promoting a product, but participating in a collective moral gesture. In this sense, mediated credibility becomes a distributed affective resource\u0026mdash;transferring trust from the figure to the message and its associated brand.\u003c/p\u003e\u003cp\u003eMore broadly, this participatory logic extends into peer circulation. The campaign encourages users to share their own \u0026ldquo;letters to the earth\u0026rdquo; via WeChat moments, branded hashtags, and co-creation platforms. This strategy taps into what Carpentier (\u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e2011\u003c/span\u003e) terms \u0026ldquo;structured participation\u0026rdquo;, where participation is invited within controlled parameters to simulate grassroot engagement. User-generated content and emotional testimony function not only as expressions of individual concern but as legitimacy signals within peer networks\u0026mdash;normalising sustainability as a socially desirable discourse.\u003c/p\u003e\u003cp\u003eYet this model of mediated participation is not without its contradictions. While the campaign avoids overt commercialism, it remains embedded in a highly curated affective economy, where authenticity is manufactured, and emotional capital becomes a strategic asset. The fusion of celebrity virtue and brand voice may obscure the institutional interests shaping sustainability discourse. As Zhu (\u003cspan citationid=\"CR36\" class=\"CitationRef\"\u003e2020\u003c/span\u003e) notes, youth audiences increasingly resist corporate greenwashing, especially when sustainability is framed as moral theatre devoid of structural accountability.\u003c/p\u003e\u003cp\u003eNevertheless, Letters to the Earth demonstrates how mediated trust and emotional contagion can serve as gateways to participatory sustainability culture. By leveraging affective credibility and peer validation, the campaign repositions sustainability from abstract value to shared social practice\u0026mdash;symbolically affirmed, emotionally circulated, and collectively performed.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec22\" class=\"Section3\"\u003e\u003ch2\u003e4.2.4. Cross-Brand Affiliation and Distributed Advocacy\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eIn addition to its emotive narratives and mediated credibility, Letters to the Earth leverages extensive cross-brand collaboration as a mechanism for scaling sustainability discourse and constructing distributed advocacy networks. By partnering with over 50 national brands across diverse sectors\u0026mdash;from cultural institutions to consumer goods\u0026mdash;FOTILE curated a collective campaign under the unified theme of \u0026ldquo;100 Love Letters to the Earth\u0026rdquo;, generating more than 200\u0026nbsp;million views and widespread social media interaction. As visualised in Fig.\u0026nbsp;\u003cspan refid=\"Fig9\" class=\"InternalRef\"\u003e9\u003c/span\u003e, these collaborative outputs shared consistent symbolic motifs\u0026mdash;handwritten letters, earth-toned palettes, and emotionally introspective visuals\u0026mdash;establishing visual and ideological coherence across the ecosystem.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eFrom a symbolic communication perspective, such brand affiliation operates as a form of semiotic alignment, wherein sustainability becomes a shared narrative currency among brands seeking cultural legitimacy. Rather than promoting isolated corporate responsibility, the campaign constructs a meta-narrative of ecological solidarity\u0026mdash;dispersed across logos, formats, and audiences, yet unified by an affective and moral frame. This reflects what Sesini et al. (\u003cspan citationid=\"CR25\" class=\"CitationRef\"\u003e2020\u003c/span\u003e) term \u0026ldquo;networked sustainability meaning-making\u0026rdquo;, where diverse actors collectively author and circulate environmental values to reinforce normative consensus.\u003c/p\u003e\u003cp\u003eThis distributed advocacy model also embodies participatory logic at the institutional level. Each collaborating brand effectively functions as a symbolic relay, amplifying campaign visibility while reaffirming sustainability as a cross-sectoral imperative. Such alignment lends credibility to the message and extends its reach into new cultural domains\u0026mdash;education, publishing, and design\u0026mdash;beyond FOTILE\u0026rsquo;s original market. The strategy mirrors Jenkins\u0026rsquo; (Arning, \u003cspan citationid=\"CR1\" class=\"CitationRef\"\u003e2009\u003c/span\u003e) notion of \u0026ldquo;spreadable media\u0026rdquo;, wherein meaning is co-produced and disseminated through collaborative affiliations, not merely top\u0026ndash;down broadcasting.\u003c/p\u003e\u003cp\u003eHowever, the institutionalisation of shared advocacy also invites critical interrogation. While the campaign avoids overt commercial competition, its reliance on brand synergy may lead to a dilution of ideological depth, transforming sustainability into a stylistic consensus rather than a contested ethic. Moreover, as consumers grow increasingly attuned to performative sustainability, the symbolic capital generated by cross-brand alignment must be matched by demonstrable structural commitments\u0026mdash;otherwise, the campaign risks being interpreted as affective branding masked as collective responsibility.\u003c/p\u003e\u003cp\u003eEven so, Letters to the Earth offers a notable case of how sustainable consumption advertising can evolve beyond individual brand storytelling into a networked cultural event. Through symbolic coherence and participatory affiliation, the campaign constructs an expansive, emotionally saturated semiotic field\u0026mdash;where environmental values are socially shared, visually codified, and institutionally endorsed.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec23\" class=\"Section3\"\u003e\u003ch2\u003e4.2.5. Summary\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eLetters to the Earth reconfigures sustainable consumption as a culturally embedded narrative practice\u0026mdash;mobilising emotive storytelling, symbolic coherence, and mediated participation to construct a collective moral imagination. Through its integration of affective visuals (visual dimension), culturally coded ethics (symbolic dimension), and peer validation (participatory dimension), the campaign offers a persuasive yet ideologically managed model of symbolic sustainability.\u003c/p\u003e\u003cp\u003eWhile its emotional appeal and narrative harmony enhance resonance, they also risk aestheticising ecological discourse and suppressing structural critique. As a semiotically rich yet ideologically contained campaign, Letters to the Earth reveals how SCA may serve less as a tool of persuasion than as a vehicle of cultural reaffirmation. The next case, Buy the Hell Out, disrupts this consensus paradigm\u0026mdash;foregrounding symbolic rupture, visual provocation, and subcultural resistance.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003c/div\u003e\u003cdiv id=\"Sec24\" class=\"Section2\"\u003e\u003ch2\u003e4.3. Buy the Hell Out\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eAs a student-initiated design intervention emerging from the Central Academy of Fine Arts, Buy the Hell Out diverges sharply from the institutional and corporate sustainability frameworks of Ant Forest and Letters to the Earth. Framed as a graduation project rather than a commercial campaign, it articulates a radically different semiotic logic\u0026mdash;eschewing emotional persuasion, aesthetic harmony, and behavioural incentives in favour of symbolic dissonance, visual minimalism, and subcultural provocation.\u003c/p\u003e\u003cp\u003eThis project confronts consumerism through irony and inversion: strands of human hair, individually packaged and sold on Taobao for a symbolic price, serve as both commodity and critique. Instead of resolving the tension between consumption and sustainability, Buy the Hell Out exacerbates it\u0026mdash;revealing the contradictions of symbolic value, production excess, and performative participation.\u003c/p\u003e\u003cp\u003eThrough this lens, the project offers a critical re-reading of sustainability advertising, foregrounding rupture over resonance, cognitive discomfort over emotional affirmation. What emerges is a subversive visual language that resists dominant sustainability aesthetics while exposing the cultural, ideological, and economic structures they often conceal. The following analysis deconstructs its design strategy across four intersecting dimensions: symbolic inversion, aesthetic minimalism, peer-driven circulation, and philosophical provocation.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cdiv id=\"Sec25\" class=\"Section3\"\u003e\u003ch2\u003e4.3.1. Symbolic Inversion and Anti-Consumerist Provocation\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eAt the heart of Buy the Hell Out lies a symbolic inversion strategy that subverts the cultural logics of consumption through deliberate absurdity. By offering strands of human hair\u0026mdash;packaged, labelled, and sold for RMB 0.1 on Taobao\u0026mdash;the designers transform bodily waste into a commercial artefact, collapsing the boundary between commodity and critique. This act reframes the logic of value not as use or status, but as symbolic absurdity, thereby exposing the arbitrariness and constructedness of consumer desire.\u003c/p\u003e\u003cp\u003eThis design gesture aligns with what Baudrillard (\u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e1998\u003c/span\u003e) terms \u0026ldquo;sign-value critique\u0026rdquo;: the deliberate inflation or disruption of symbolic codes to reveal the ideological operations of consumption itself. The hair, stripped of any intrinsic worth, becomes a metonym for surplus, excess, and identity commodification. Each item\u0026mdash;labelled with a serial number and production date\u0026mdash;parodies industrial rationality while mimicking the aesthetic of high-end branding. As visualised in Fig.\u0026nbsp;\u003cspan refid=\"Fig10\" class=\"InternalRef\"\u003e10\u003c/span\u003e, the material artefact serves as both product and polemic, inviting audiences to reflect on the spectacle of sustainability and the absurd lengths to which symbolic consumption extends.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eRather than resolving contradictions between ecological ethics and consumer practice, Buy the Hell Out foregrounds them. Its irony is not playful but epistemic: it functions as what Barthes (\u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e1979\u003c/span\u003e) would call a \u0026ldquo;counter-myth\u0026rdquo;\u0026mdash;a secondary sign system that deconstructs the ideological naturalisation of green consumerism. In doing so, it destabilises the optimistic aesthetics of mainstream sustainable advertising, opting instead for visual discomfort and conceptual disturbance.\u003c/p\u003e\u003cp\u003eImportantly, the project also challenges the moral authority typically claimed by SCA initiatives. It refrains from offering solutions, instead amplifying discomfort and interpretive ambiguity. This refusal to persuade\u0026mdash;combined with its refusal to beautify\u0026mdash;creates a space of critical reflexivity. By rejecting resolution, it forces the viewer to confront the complicity of symbolic systems in sustaining ecological and ideological harm.\u003c/p\u003e\u003cp\u003eIn essence, Buy the Hell Out functions not as a persuasive communication, but as a symbolic interruption. Its anti-consumerist provocation reframes sustainability as a question, not an answer\u0026mdash;reclaiming the semiotic terrain of advertising as a site for critical engagement rather than behavioural compliance.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec26\" class=\"Section3\"\u003e\u003ch2\u003e4.3.2. Aesthetic Minimalism and Visual Estrangement\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eIn sharp contrast to the emotional richness and visual harmony of mainstream sustainable advertising, Buy the Hell Out adopts an aesthetic of deliberate restraint and estrangement. Its design language\u0026mdash;monochromatic tones, sparse composition, and clinical typography\u0026mdash;rejects ornamental appeal in favour of conceptual tension. Product images are stark and affectless: single strands of hair, neatly sealed in transparent bags, marked only by serial numbers and dates. As shown in Fig.\u0026nbsp;\u003cspan refid=\"Fig11\" class=\"InternalRef\"\u003e11\u003c/span\u003e, this minimalist presentation strips the visual field of narrative cues, confronting viewers with a visual vacuum that resists interpretation.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThis mode of aesthetic minimalism serves not as stylistic preference but as a strategic disruption of advertising\u0026rsquo;s affective infrastructure. According to Veronica (\u003cspan citationid=\"CR29\" class=\"CitationRef\"\u003e2016\u003c/span\u003e), the dominant function of advertising imagery is to seduce, soothe, or affirm\u0026mdash;deploying beauty and coherence to naturalise ideological content. Buy the Hell Out reverses this principle: its refusal of visual gratification produces what Brechtian aesthetics would call \u0026ldquo;alienation effects\u0026rdquo;, prompting audiences to step back from emotional identification and instead reflect critically on what is being presented\u0026mdash;and what is not.\u003c/p\u003e\u003cp\u003eThe visual estrangement deployed here also resists the spectacularisation of sustainability. Unlike campaigns that use lush nature scenes, smiling families, or digital metaphors of progress, Buy the Hell Out avoids environmental iconography altogether. There are no trees, no rivers, no appeals to the future. Instead, the viewer is faced with a banal yet unsettling object\u0026mdash;human hair as commodity\u0026mdash;devoid of narrative comfort or visual optimism. This semiotic inversion aligns with what Arning (\u003cspan citationid=\"CR1\" class=\"CitationRef\"\u003e2009\u003c/span\u003e) describes as a strategy of ironic critique, in which kitsch aesthetics and symbolic dissonance are deployed not to clarify meaning, but to provoke discomfort, reflexivity, and a re-evaluation of consumerist norms.\u003c/p\u003e\u003cp\u003eYet this strategy also entails communicative risk. The project\u0026rsquo;s aesthetic opacity and visual coldness may alienate viewers unfamiliar with its critical codes, limiting its interpretive accessibility. Its resistance to visual pleasure may be misread as indifference or nihilism rather than critique. But herein lies its radical proposition: by undermining advertising\u0026rsquo;s seductive logic, Buy the Hell Out opens up a space for alternative visualities\u0026mdash;ones that invite discomfort, provoke ambiguity, and re-politicise the act of looking.\u003c/p\u003e\u003cp\u003eIn sum, the project\u0026rsquo;s minimalist design is not merely a visual style, but a refusal\u0026mdash;of spectacle, of persuasion, of resolution. It exemplifies how aesthetic subtraction can operate as a critical tactic in sustainability discourse, unsettling the smooth visual grammar of green consumerism and making space for estranged reflection.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec27\" class=\"Section3\"\u003e\u003ch2\u003e4.3.3. Peer Circulation and Platform Subversion\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eWhile Buy the Hell Out originated as an experimental design project within an academic setting, its influence was amplified through peer circulation and viral traction on Chinese social media platforms such as Xiaohongshu, WeChat, and Taobao. The project\u0026rsquo;s symbolic ambiguity and visual rupture attracted attention not through institutional dissemination, but via user-generated content (UGC), commentary threads, and participatory reinterpretation. As shown in Fig.\u0026nbsp;\u003cspan refid=\"Fig12\" class=\"InternalRef\"\u003e12\u003c/span\u003e, reposts often included ironic captions, meme overlays, or aesthetic remixes, extending the campaign\u0026rsquo;s meaning beyond its original form into a subcultural vernacular of critique and play.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThis circulation model exemplifies what Jenkins (\u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e2016\u003c/span\u003e) describes as \u0026ldquo;spreadable media\u0026rdquo;\u0026mdash;where audiences do not passively consume but actively recontextualise, fragment, and reframe content within their own networks. In contrast to traditional sustainable advertising campaigns that tightly manage message framing and brand alignment, Buy the Hell Out embraces semantic instability and platform remixability. Rather than resisting appropriation, it leverages it\u0026mdash;turning its symbolic strangeness into a participatory catalyst for interpretive engagement.\u003c/p\u003e\u003cp\u003eImportantly, this circulation operates within\u0026mdash;and against\u0026mdash;the architecture of mainstream e-commerce and social media platforms. By inserting critique into Taobao\u0026rsquo;s marketplace interface, the campaign exploits the visual and rhetorical conventions of online retail to stage its conceptual inversion. Product descriptions mimic standard commercial language; item listings generate algorithmic visibility; aesthetic minimalism echoes boutique design brands. Yet all of this is deployed ironically, subverting platform expectations from within.\u003c/p\u003e\u003cp\u003eThis strategy resonates with Carpentier\u0026rsquo;s (\u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e2011\u003c/span\u003e) notion of \u0026ldquo;maximalist participation\u0026rdquo;, where users are not merely interactive but politically engaged in reconfiguring symbolic orders. Through sharing, mocking, remixing, or even purchasing the hair products, participants enact a form of tactical disruption that both critiques and exploits the very platforms it inhabits. Participation here is not instrumental (e.g., tree planting, leaderboard climbing), but reflexive and dissent-oriented.\u003c/p\u003e\u003cp\u003eHowever, platform subversion is not without limitations. As Zhu (\u003cspan citationid=\"CR36\" class=\"CitationRef\"\u003e2020\u003c/span\u003e) notes, Gen Z audiences are simultaneously resistant to and dependent on digital systems, and subversive content may be rapidly commodified or neutralised through algorithmic absorption. The irony of Buy the Hell Out\u0026mdash;once stripped of its critical context\u0026mdash;risks becoming an aestheticised quirk, assimilated into the same consumer spectacle it seeks to critique.\u003c/p\u003e\u003cp\u003eNonetheless, the project demonstrates how peer-driven participation can expand the symbolic terrain of sustainable discourse through irony, appropriation, and tactical intervention. It signals a shift from structured behavioural campaigns to decentralised, culturally coded critiques\u0026mdash;where sustainability is neither instructed nor incentivised, but subversively circulated and collectively renegotiated.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec28\" class=\"Section3\"\u003e\u003ch2\u003e4.3.4. Philosophical Discomfort and Cognitive Reflexivity\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eUnlike conventional sustainability campaigns that aim to inspire hope, evoke empathy, or motivate behavioural change, Buy the Hell Out deliberately suspends emotional resolution and narrative closure. The campaign invites philosophical discomfort by staging a provocation that refuses interpretation on moral or functional terms. Its designers describe their intention as \u0026ldquo;creating public misunderstanding to provoke deeper questioning\u0026rdquo;\u0026mdash;a formulation that foregrounds opacity as method and unease as message. As seen in Fig.\u0026nbsp;\u003cspan refid=\"Fig13\" class=\"InternalRef\"\u003e13\u003c/span\u003e, the visual frame offers no guiding metaphors, no explanatory slogans, and no path to redemption\u0026mdash;only repetition, fragmentation, and absurdity.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\n\u003cp\u003eThis strategy exemplifies what Hua et al. (\u003cspan class=\"CitationRef\"\u003e2020\u003c/span\u003e) identify as cognitive engagement\u0026mdash;a communication mode that resists affective saturation in favour of intellectual stimulation. By withholding emotional gratification and narrative coherence, the project prompts audiences to interrogate their own assumptions about value, waste, authenticity, and ecological ethics. In doing so, it repositions sustainability not as a behaviour to adopt, but as a semiotic system to critique.\u003c/p\u003e\n\u003cp\u003eMoreover, the philosophical abstraction of Buy the Hell Out operates within the aesthetic tradition of d\u0026eacute;tournement: the radical reconfiguration of symbolic materials to disrupt ideological narratives. Through its minimalist artefact\u0026mdash;the commodified hair\u0026mdash;the campaign forces viewers to confront the absurd logics of commodification itself. Rather than mobilising guilt, hope, or virtue, it confronts the viewer with ambiguity, inviting not action but reflection.\u003c/p\u003e\n\u003cp\u003eThis reflexive stance marks a departure from the persuasive imperatives that dominate sustainable consumption advertising. As Jahari et al. (\u003cspan class=\"CitationRef\"\u003e2022\u003c/span\u003e) note, most SCA frameworks assume that sustainability communication must be affectively engaging and action-oriented. Buy the Hell Out subverts this assumption by foregrounding meaninglessness, discomfort, and irony\u0026mdash;not as communicative failures, but as philosophical devices to re-politicise the symbolic infrastructure of consumption.\u003c/p\u003e\n\u003cp\u003eNevertheless, such cognitive opacity poses clear limits to reach and legibility. The project\u0026rsquo;s intellectual density and aesthetic austerity may exclude less media-literate or subculturally attuned audiences, raising questions about accessibility, elitism, and cultural capital. Its refusal to persuade is also a refusal to universalise\u0026mdash;a strength in ideological critique, but a limitation in broad social mobilisation.\u003c/p\u003e\n\u003cp\u003eStill, as a counterpoint to emotionally saturated, institutionally scripted forms of SCA, Buy the Hell Out provides a rare example of symbolic reflexivity and conceptual resistance. It challenges not only what sustainable advertising shows, but how it makes us think\u0026mdash;and who gets to decide what sustainability means.\u003c/p\u003e\n\u003cp\u003e\u003c/p\u003e\n\u003cp\u003e\u003c/p\u003e\n\u003ch2\u003e4.3.5. Summary\u003c/h2\u003e\n\u003cdiv class=\"BlockQuote\"\u003e\n \u003cp\u003eBuy the Hell Out offers a radical departure from conventional sustainability advertising by rejecting affective coherence, behavioural persuasion, and symbolic consensus. Through strategies of inversion, estrangement, and conceptual provocation, it destabilises dominant visual and ideological codes, reframing sustainability as a site of subcultural critique rather than moral alignment.\u003c/p\u003e\n \u003cp\u003eRather than operationalising the SCA\u0026ndash;SVI framework through resonance, the campaign confronts it through rupture\u0026mdash;employing symbolic dissonance, minimalist aesthetics, and peer-led reinterpretation to expose the performative contradictions of green consumerism. While its interpretive opacity and limited accessibility raise questions about audience reach, its value lies in expanding the expressive and critical boundaries of what sustainable communication can be.\u003c/p\u003e\n \u003cp\u003eIn contrast to the emotionally curated and system-integrated models of Ant Forest and Letters to the Earth, Buy the Hell Out functions as a counter-hegemonic intervention\u0026mdash;disrupting the normative visual economy of sustainability and foregrounding reflexivity over reassurance.\u003c/p\u003e\n\u003c/div\u003e\n"},{"header":"5. Discussion","content":"\u003cdiv id=\"Sec31\" class=\"Section2\"\u003e\u003ch2\u003e5.1 The Symbolic-Visual Immersion (SVI) Framework\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThis section integrates the findings from the three cases analysed to develop a refined sustainable consumption advertising (SCA) framework tailored to China\u0026rsquo;s Gen Z consumers. Through cross-case synthesis, we consolidate symbolic, visual, and participatory mechanisms into a coherent theoretical structure. Building upon the thematic codes derived from each campaign, Table\u0026nbsp;\u003cspan refid=\"Tab2\" class=\"InternalRef\"\u003e2\u003c/span\u003e maps specific strategies to the SCA\u0026ndash;SVI tri-dimensional model, allowing for both comparative insight and systematic framework construction.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab2\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 2\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eCase-based mapping to the SCA\u0026ndash;SVI framework.\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"4\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eCase\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eThematic Code (Keyword)\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eSub-Mechanism\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003eSCA\u0026ndash;SVI Dimension\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eAnt Forest\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eGreen leaderboard\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eBehavioural Activation\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eParticipatory Orchestration\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eAnt Forest\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eInterface animation\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eMobile-Native Visualisation\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eVisual Immersion\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eAnt Forest\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eEnergy icon animations\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eInterface Metaphor\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eVisual Immersion\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eFOTILE\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eHandwritten letters\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eHeritage Symbolism\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eSymbolic Encoding\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eFOTILE\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eEmotional voiceover\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eEmotional Storytelling\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eVisual Immersion\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eFOTILE\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eAncestral care imagery\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eCultural Resonance\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eSymbolic Encoding\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eFOTILE\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eCo-branded advocacy\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eCollaborative Advocacy\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eParticipatory Orchestration\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eCAFA\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eMinimalist visual form\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eMinimalist Critique\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eVisual Immersion\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eCAFA\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eSymbolic recontextualization\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eSubcultural Repositioning\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eSymbolic Encoding\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eCAFA\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eFragmented storytelling\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eVisual Estrangement\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eVisual Immersion\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThis matrix illustrates how each campaign operationalises the SCA\u0026ndash;SVI framework through differentiated but conceptually aligned strategies. The symbolic dimension is defined by heritage metaphors, identity-rooted reinterpretation, and cultural semantics that embed sustainability within shared narratives and social meaning systems. The visual immersion dimension encompasses aesthetic and narrative techniques such as interface metaphors, emotional voiceovers, and estranged visual cues that shape cognitive\u0026ndash;affective responses. The participatory orchestration dimension activates user involvement and community alignment via gamification, collaborative campaigns, and digital interactivity.\u003c/p\u003e\u003cp\u003eCollectively, these mappings reveal how effective sustainable consumption advertising must move beyond unidirectional message delivery, instead fostering identity-based resonance, immersive storytelling, and participatory co-construction. The findings validate the tri-dimensional logic of the SCA\u0026ndash;SVI model and provide a robust foundation for its application in both academic inquiry and advertising design practice.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec32\" class=\"Section2\"\u003e\u003ch2\u003e5.2 Cultural Resonance and Participatory Mechanisms\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eFigure \u003cspan refid=\"Fig14\" class=\"InternalRef\"\u003e14\u003c/span\u003e illustrates the final SCA\u0026ndash;SVI framework designed to guide sustainable consumption advertising (SCA) targeting China\u0026rsquo;s Generation Z. The model adopts a two-tiered structure: the outer layer defines three communicative dimensions\u0026mdash;symbolic encoding, visual immersion, and participatory orchestration\u0026mdash;while the inner layer presents the key sub-mechanisms derived from cross-case thematic synthesis, including heritage symbolism, interface metaphor, emotional storytelling, and subcultural repositioning.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eCollectively, these dimensions reframe sustainability from a top\u0026ndash;down policy directive into a culturally embedded, emotionally resonant, and socially co-produced digital experience. The framework activates symbolic resonance by embedding sustainability into Gen Z\u0026rsquo;s subcultural vocabulary, employs digital-native aesthetics for immersive storytelling, and fosters collective participation through gamified and collaborative modes of engagement.\u003c/p\u003e\u003cp\u003eEach dimension is operationalised through distinct communicative mechanisms:\u003c/p\u003e\u003cp\u003eSymbolic Encoding: This dimension reconstructs sustainability through culturally saturated signs, memes, idioms, and visual vernaculars that resonate with Gen Z\u0026rsquo;s identity performance. By embedding environmental meaning into familiar symbolic systems, campaigns convert sustainability into social currency, facilitating peer-to-peer diffusion and symbolic behavioural alignment.\u003c/p\u003e\u003cp\u003eVisual Immersion: Through mobile-native visuals, metaphorical sequencing, and emotionally engaging narratives, this dimension enhances cognitive and affective processing. In particular, visual estrangement\u0026mdash;via symbolic disruption or aesthetic inversion\u0026mdash;disrupts normative perception and invites critical reflection on unsustainable practices, increasing narrative salience and memorability.\u003c/p\u003e\u003cp\u003eParticipatory Orchestration: This dimension fuses informational clarity with interactive communication. Through gamification, co-creation, and digital advocacy, it transforms passive awareness into participatory engagement. These mechanisms reinforce behavioural salience and embed sustainability within everyday social rituals and community-driven expressions.\u003c/p\u003e\u003cp\u003eThe SCA\u0026ndash;SVI framework thus offers a theoretically grounded and empirically substantiated model for both scholars and practitioners. By synthesising symbolic consumption theory, visual narrative strategy, and participatory culture, it provides a culturally responsive pathway for advancing normative behavioural transformation among China\u0026rsquo;s Generation Z in the realm of sustainable consumption.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec33\" class=\"Section2\"\u003e\u003ch2\u003e5.3 Implications and Future Research\u003c/h2\u003e\u003cp\u003e\u003cdiv class=\"BlockQuote\"\u003e\u003cp\u003eThis study has examined how sustainable consumption advertising (SCA) can be strategically designed to engage China\u0026rsquo;s Generation Z\u0026mdash;an audience shaped by digital nativity, subcultural fluency, and strong symbolic sensitivities. Through cross-case and thematic analyses of three emblematic campaigns\u0026mdash;Ant Forest, FOTILE\u0026rsquo;s Letter to the Earth, and the Central Academy of Fine Arts\u0026rsquo; Buy the Hell Out\u0026mdash;the research identified how cultural symbolism, visual narrative immersion, and participatory mechanisms can be integrated to drive attitudinal and behavioural shifts toward sustainability.\u003c/p\u003e\u003cp\u003eThe findings reveal that effective SCA is not solely about message transmission but about embedding sustainability into Gen Z\u0026rsquo;s symbolic ecology. This requires translating abstract environmental values into emotionally engaging, culturally resonant, and socially shareable forms. The resulting SCA\u0026ndash;SVI framework proposes a tri-dimensional model\u0026mdash;symbolic encoding, visual immersion, and participatory orchestration\u0026mdash;each supported by sub-mechanisms derived from real-world campaigns. This model reconceptualises sustainability as a dynamic communicative experience that aligns with Gen Z\u0026rsquo;s aesthetic expectations and identity expressions.\u003c/p\u003e\u003cp\u003ePractically, the framework serves as a design blueprint for advertisers, creative directors, and public communication strategists. For instance, symbolic encoding encourages the use of culturally situated idioms, memes, and vernaculars to trigger identity alignment; visual immersion highlights narrative metaphors and mobile-native aesthetics to amplify emotional resonance; and participatory orchestration guides designers to embed interactive mechanisms\u0026mdash;such as gamification or co-creation\u0026mdash;to transform passive awareness into actionable commitment.\u003c/p\u003e\u003cp\u003eWhile this study offers both theoretical depth and empirical grounding, limitations remain. The sample is limited to three China-based cases, and further empirical validation across platforms and audience segments is needed. Future research could expand this framework through longitudinal audience reception studies or apply it to emerging platforms shaped by generative AI and algorithmic personalisation.\u003c/p\u003e\u003cp\u003eUltimately, this study contributes to the evolving literature on sustainable advertising and visual communication by localising theory in the cultural context of China\u0026rsquo;s Gen Z. It offers a culturally responsive, design-oriented pathway to transform sustainability from a top\u0026ndash;down imperative into a lived, shared, and co-created generational practice.\u003c/p\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e"},{"header":"Declarations","content":"\u003cp\u003e\u003cstrong\u003eSupplementary Material\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eAppendix A, Appendix B, and Appendix C are provided in a separate Supplementary File uploaded with this submission.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eData Availability Statement\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe data used in this study consist of publicly available advertising materials collected from official media outlets, brand websites, and verified social media platforms in China. All sources are appropriately cited in the manuscript, and no proprietary or confidential data were used.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eCompeting Interests\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe author declares no competing interests.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFunding\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThis research received no external funding.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eData Availability\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eAll data analyzed in this study are included in this manuscript. No new data were generated.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eEthical Approva\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cem\u003el\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eNot applicable. This study does not involve human participants or animals.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eInformed Consent\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eNot applicable.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eAuthor Contributions\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe author is solely responsible for the conception, design, data collection, analysis, and writing of this manuscript.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eConsent to Publish\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eNot applicable.\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\n\u003cli\u003eArning C (2009) Kitsch, irony, and consumerism: a semiotic analysis of diesel advertising 2000\u0026ndash;2008. Semiotica 2009:21\u0026ndash;48\u003c/li\u003e\n\u003cli\u003eBarthes R (1979) Lecture in inauguration of the chair of literary semiology, college de France, January 7,1977. Oxf Lit Rev 4(1):31\u0026ndash;44\u003c/li\u003e\n\u003cli\u003eBaudrillard J (1998) Soci\u0026eacute;t\u0026eacute; de consommation: ses mythes, ses structures. SAGE, New York\u003c/li\u003e\n\u003cli\u003eBraun V, Clarke V (2012) Thematic analysis. In: APA handbook of research methods in psychology: research designs: quantitative, qualitative, neuropsychological, and biological. American Psychological Association, Washington, pp 57\u0026ndash;71\u003c/li\u003e\n\u003cli\u003eCarpentier N (2011) Media and participation: a site of ideological-democratic struggle. Intellect, Bristol\u003c/li\u003e\n\u003cli\u003eChan K, Cheng H (2009) Advertising and Chinese society: impacts and issues. Copenhagen Business School Press, Frederiksberg, Denmark\u003c/li\u003e\n\u003cli\u003eCheng D (2022) Green guilt report: sustainable consumption in China. Daxue Consulting, Beijing, China\u003c/li\u003e\n\u003cli\u003eDe Burgh‐Woodman H, Brace‐Govan J (2008) Jargon as imagining: Barthes\u0026apos; semiotics and excavating subcultural communication. Qual Mark Res Int J 11(1):89\u0026ndash;106\u003c/li\u003e\n\u003cli\u003eGilbert JR, Stafford MBR, Sheinin DA, Pounders K (2021) The dance between darkness and light: a systematic review of advertising\u0026rsquo;s role in consumer well-being (1980\u0026ndash;2020). Int J Advert 40(4):491\u0026ndash;528\u003c/li\u003e\n\u003cli\u003eGu Y, Me R, De Costa F, Pujazon E (2024) A review on the influence of advertising on sustainable consumption among China\u0026rsquo;s generation Z. Int J Herit Art Multimed 4(32):12\u0026ndash;19\u003c/li\u003e\n\u003cli\u003eGuo Q, Xiang Y (2015) The real-life dilemma of sustainable consumption culture in China and its construction. Gansu Soc Sci 1:41\u0026ndash;44\u003c/li\u003e\n\u003cli\u003eHe S (2022) The background and characteristics of generation Z youth. China Youth Stud 8:14\u0026ndash;20\u003c/li\u003e\n\u003cli\u003eHua L, Shaoxin L, Yaqiong W, Keyi S, Liqing L (2020) China sustainable consumption report. In: Proceedings of the fifth Jiemian Zhenshan annual conference\u0026mdash;beautiful China, better life, Shanghai, China\u003c/li\u003e\n\u003cli\u003eJahari SA, Hass A, Idris IB, Joseph M (2022) An integrated framework examining sustainable green behavior among young consumers. J Consum Mark 39(4):333\u0026ndash;344\u003c/li\u003e\n\u003cli\u003eJenkins H (2016) By any media necessary: the new youth activism. New York University Press, New York\u003c/li\u003e\n\u003cli\u003eKadic-Maglajlic S, Arslanagic-Kalajdzic M, Micevski M, Dlacic J, Zabkar V (2019) Being engaged is a good thing: understanding sustainable consumption behavior among young adults. J Bus Res 104:644\u0026ndash;654\u003c/li\u003e\n\u003cli\u003eKelleci A, Yıldız O (2021) A guiding framework for levels of sustainability in marketing. Sustainability 13(4):1644\u003c/li\u003e\n\u003cli\u003eLi L (2022) A study of digital PSA communication paths in Devereux\u0026rsquo;s interactive model. China Advert 2:57\u0026ndash;64\u003c/li\u003e\n\u003cli\u003eLi Y, Zhang L, Jin M (2022) Report on consumer awareness and behaviour change in sustainable consumption. China Chain Store Association and School of Environment, Renmin University of China, Beijing, China\u003c/li\u003e\n\u003cli\u003eLiu Y, Zhu B (2022) Exploring the formation of adolescent consumerism in the context of advertising symbols. Chin J Educ 9:136\u003c/li\u003e\n\u003cli\u003eLu P (2022) A study on the cultural symbols and identity construction of virtual idols in the binary generation. 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South East Community 9:115\u0026ndash;118\u003c/li\u003e\n\u003cli\u003eTrindade E (2019) Algorithms and advertising in consumption mediations: a semio-pragmatic perspective. In: Meiselwitz G (ed) Social computing and social media Communication and social communities. Springer International Publishing, Cham, pp 514\u0026ndash;526\u003c/li\u003e\n\u003cli\u003eUNEP, UN Global Compact Office, Utopies (2017) Talk the walk: advancing sustainable lifestyles through marketing and communications. http://www.unep.org/resources/report/talk-walk-advancing-sustainable-lifestyles-through-marketing-and-communications. Accessed 21 Sept 2022\u003c/li\u003e\n\u003cli\u003eVeronica N (2016) The ethics of advertising. Imaginary worlds and strategies of commercial advertising. Teor Riv Filos 36(2):149\u0026ndash;164\u003c/li\u003e\n\u003cli\u003eXie Y, Wang X (2022) A review and perspectives on global generation Z research in the 21st century. China Youth Stud 10:102\u0026ndash;109\u003c/li\u003e\n\u003cli\u003eYang E (2020) A study on the nature of entertainment humanities and their characteristics in sign consumption. J Lifelong Educ 26:1\u0026ndash;38\u003c/li\u003e\n\u003cli\u003eYang R (2022) The generation and criticism of symbol consumerism on the internet. Nanjing Soc Sci 12:125\u0026ndash;134+154\u003c/li\u003e\n\u003cli\u003eYang S, Chen L (2022) Research on marketing strategies for China\u0026rsquo;s generation Z consumers. Time Honor Brand Mark 17:33\u0026ndash;35\u003c/li\u003e\n\u003cli\u003eYe N, Zhang X (2018) Knowledge map analysis of domestic sustainable consumption research based on cite space. J Nanjing Univ Technol 17:87\u0026ndash;96\u003c/li\u003e\n\u003cli\u003eYin RK (2017) Case study research and applications: design and methods. SAGE Publications, New York\u003c/li\u003e\n\u003cli\u003eZhu Z (2020) Research on the framework and factor analysis of green advertising strategy based on MECCAS model. Jinan University, Wuxi, China\u003c/li\u003e\n\u003c/ol\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":false,"highlight":"","institution":"","isAcceptedByJournal":true,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"humanities-and-social-sciences-communications","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":false,"externalIdentity":"palcomms","sideBox":"Learn more about [Humanities \u0026 Social Sciences Communications](http://www.nature.com/palcomms/)","snPcode":"41599","submissionUrl":"https://submission.springernature.com/new-submission/41599/3","title":"Humanities and Social Sciences Communications","twitterHandle":"","acdcEnabled":true,"dfaEnabled":true,"editorialSystem":"stoa","reportingPortfolio":"Nature AJ","inReviewEnabled":true,"inReviewRevisionsEnabled":false},"keywords":"","lastPublishedDoi":"10.21203/rs.3.rs-7015299/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-7015299/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eIn response to intensifying global environmental concerns, sustainable consumption has become a critical agenda in both academic inquiry and advertising practice. While advertising plays a pivotal role in shaping consumer values and behaviours, conventional green campaigns often struggle to resonate with Generation Z\u0026mdash;particularly within China\u0026rsquo;s hybrid economy and digital-native media ecosystem. This study conducts a thematic and cross-case analysis of three representative campaigns from China\u0026mdash;Ant Forest, FOTILE\u0026rsquo;s Letters to the Earth, and CAFA\u0026rsquo;s Buy the Hell Out\u0026mdash;to identify key mechanisms for designing culturally resonant sustainable consumption advertising. The findings reveal three core communicative strategies: symbolic encoding, visual immersion, and participatory orchestration. Grounded in theories of symbolic consumption, visual narrative, and participatory culture, this study proposes a tri-dimensional SCA\u0026ndash;SVI framework. This model integrates (1) culturally embedded sustainability knowledge to strengthen symbolic identity; (2) immersive, mobile-native visual storytelling to evoke emotional resonance, and (3) subcultural expression and peer co-creation to foster behavioural transformation. The SCA\u0026ndash;SVI framework offers actionable guidance for advertisers, designers, and sustainability communicators seeking to translate environmental messages into symbolic meaning, affective engagement, and social relevance. It contributes to bridging value-based sustainability communication and Gen Z\u0026rsquo;s evolving symbolic ecosystems in China. Future research may expand this model by incorporating generative AI, immersive environments, and platform-specific dynamics to enhance the adaptability and scalability of symbolic sustainability strategies.\u003c/p\u003e","manuscriptTitle":"A symbolic–visual advertising framework for engaging China’s generation Z in sustainable consumption","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2025-08-25 20:56:41","doi":"10.21203/rs.3.rs-7015299/v1","editorialEvents":[{"type":"communityComments","content":0},{"type":"decision","content":"Revision requested","date":"2025-09-16T10:19:40+00:00","index":"","fulltext":""},{"type":"editorInvitedReview","content":"","date":"2025-09-04T15:08:59+00:00","index":"hide","fulltext":""},{"type":"editorInvitedReview","content":"","date":"2025-08-17T09:13:43+00:00","index":"hide","fulltext":""},{"type":"editorInvitedReview","content":"","date":"2025-08-14T13:24:00+00:00","index":"hide","fulltext":""},{"type":"reviewerAgreed","content":"319487307687914481245061416349965654653","date":"2025-08-11T22:39:16+00:00","index":"hide","fulltext":""},{"type":"reviewerAgreed","content":"198673258887078835521617265462082558103","date":"2025-08-08T13:03:40+00:00","index":"hide","fulltext":""},{"type":"reviewerAgreed","content":"218205960777968560868544055052418925007","date":"2025-08-08T12:52:53+00:00","index":"hide","fulltext":""},{"type":"reviewerAgreed","content":"271458164379521776937539210539649599033","date":"2025-08-07T04:29:58+00:00","index":"hide","fulltext":""},{"type":"reviewersInvited","content":"","date":"2025-08-06T12:46:45+00:00","index":"","fulltext":""},{"type":"editorInvited","content":"","date":"2025-08-01T17:54:59+00:00","index":"","fulltext":""},{"type":"editorAssigned","content":"","date":"2025-07-31T16:58:30+00:00","index":"","fulltext":""},{"type":"checksComplete","content":"","date":"2025-07-30T10:23:51+00:00","index":"","fulltext":""},{"type":"submitted","content":"Humanities and Social Sciences Communications","date":"2025-07-01T02:51:29+00:00","index":"","fulltext":""}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"humanities-and-social-sciences-communications","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":false,"externalIdentity":"palcomms","sideBox":"Learn more about [Humanities \u0026 Social Sciences Communications](http://www.nature.com/palcomms/)","snPcode":"41599","submissionUrl":"https://submission.springernature.com/new-submission/41599/3","title":"Humanities and Social Sciences Communications","twitterHandle":"","acdcEnabled":true,"dfaEnabled":true,"editorialSystem":"stoa","reportingPortfolio":"Nature AJ","inReviewEnabled":true,"inReviewRevisionsEnabled":false}}],"origin":"","ownerIdentity":"7713f605-ff30-4f6c-bd64-ab148a4d1683","owner":[],"postedDate":"August 25th, 2025","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"published-in-journal","subjectAreas":[{"id":52875437,"name":"Humanities/Cultural and media studies"},{"id":52875438,"name":"Social science/Cultural and media studies"},{"id":52875439,"name":"Social science/Environmental studies"},{"id":52875440,"name":"Social science/Science technology and society"}],"tags":[],"updatedAt":"2026-03-30T16:26:19+00:00","versionOfRecord":{"articleIdentity":"rs-7015299","link":"https://doi.org/10.1057/s41599-026-07058-6","journal":{"identity":"humanities-and-social-sciences-communications","isVorOnly":false,"title":"Humanities and Social Sciences Communications"},"publishedOn":"2026-03-25 16:10:40","publishedOnDateReadable":"March 25th, 2026"},"versionCreatedAt":"2025-08-25 20:56:41","video":"","vorDoi":"10.1057/s41599-026-07058-6","vorDoiUrl":"https://doi.org/10.1057/s41599-026-07058-6","workflowStages":[]},"version":"v1","identity":"rs-7015299","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-7015299","identity":"rs-7015299","version":["v1"]},"buildId":"8U1c8b4HqxoKbykW_rLl7","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}