---
title: "Zhao Bo of New Distribution: In the Post-Truth Era, No Narrative, No Brand?"
description: "What is narrative? Let's start with a story. Wan Weigang, in his course 'Modern Thinking Tools,' shared a case: In the 1980s, Texas had a serious highway litter problem. The state government tried fines and campaigns, all to no avail. The main culprits were young men aged 18-35 who drove pickups and listened to heavy metal, priding themselves on rebellion. An advertising agency came up with a brilliant slogan featuring a football star and a blues singer, which solved the problem: 'Don't mess with Texas.'"
author: "赵波"
publisher: "New Distribution"
email: "zhaobo258@gmail.com"
telephone: "+8615854817671"
published: "2026-04-12"
categories: "Brand Marketing, Dealer Operations"
language: "en"
canonical: "https://xinjignxiao.com/en/articles/zhao-bo-of-new-distribution-in-the-post-truth-era-no-narrative-no-brand-37908469/"
markdown: "https://xinjignxiao.com/en/articles/zhao-bo-of-new-distribution-in-the-post-truth-era-no-narrative-no-brand-37908469.md"
original_source: "https://mp.weixin.qq.com/s/LcwaVWIZn9tlu84reDIBgA"
translation: "https://xinjignxiao.com/zh/articles/%E6%96%B0%E7%BB%8F%E9%94%80%E8%B5%B5%E6%B3%A2-%E5%90%8E%E7%9C%9F%E7%9B%B8%E6%97%B6%E4%BB%A3-%E4%B8%BA%E4%BB%80%E4%B9%88%E6%97%A0%E5%8F%99%E4%BA%8B-%E4%B8%8D%E5%93%81%E7%89%8C-37908469.md"
attribution: "New Distribution — https://xinjignxiao.com/en/articles/zhao-bo-of-new-distribution-in-the-post-truth-era-no-narrative-no-brand-37908469/"
citation: "赵波. “Zhao Bo of New Distribution: In the Post-Truth Era, No Narrative, No Brand?.” New Distribution, 2026-04-12. https://xinjignxiao.com/en/articles/zhao-bo-of-new-distribution-in-the-post-truth-era-no-narrative-no-brand-37908469/"
usage_policy: "https://xinjignxiao.com/ai-policy.txt"
---

# Zhao Bo of New Distribution: In the Post-Truth Era, No Narrative, No Brand?

> What is narrative? Let's start with a story. Wan Weigang, in his course 'Modern Thinking Tools,' shared a case: In the 1980s, Texas had a serious highway litter problem. The state government tried fines and campaigns, all to no avail. The main culprits were young men aged 18-35 who drove pickups and listened to heavy metal, priding themselves on rebellion. An advertising agency came up with a brilliant slogan featuring a football star and a blues singer, which solved the problem: 'Don't mess with Texas.'

What is narrative? Let's start with a story. Wan Weigang, in his course 'Modern Thinking Tools,' shared a case:
In the 1980s, Texas had a serious highway litter problem. The state government tried various measures, from fines to publicity, but nothing worked. Surveys found that the main culprits were young men aged 18 to 35, who drove pickups and listened to heavy metal, priding themselves on rebellion. If you told them to protect the environment, they called it unmanly; if you banned littering, they reacted with defiance and did it even more.
Then an advertising agency came up with a brilliant slogan, featuring a football star and a blues singer, aired repeatedly on TV, and it actually solved the problem. That phrase remains a Texan declaration to this day: "Don't mess with Texas."
This is not preaching; it's defining identity. The subtext is that a true Texan man wouldn't let anyone dirty his home turf. Whoever dares to mess with Texas is disrespecting Texans. It redefined the act of "not littering" from "obeying the government" to "upholding the dignity of Texas tough guys."
Then the redneck youths became environmental pioneers, not only refraining from littering themselves but also watching others. Texas highway litter decreased by 72% in just a few years.
This is narrative. Narrative is not about explaining something clearly; it's about **giving something identity significance.** It doesn't tell people what the world is like; it dictates what role people should play in this world.
This is also why truly strong narratives never say: what the brand is, what the product has, how hard the founder works, or how visionary the company is.
What it truly answers are other questions: Who am I? Who am I not? Which side am I on? Why do I do this? What kind of person will I become by doing this?
In this article, I don't want to explain narrative as an advertising term or as a few empty communication methods. Today, I'm going to talk about a complete narrative system.
**What Narrative Really Is**
First, let's clarify a concept: **Story is not equal to narrative.**
A story tells what happened; a narrative tells what it means.
A person quitting a job to start a business is a story.
That event can be told as chasing a dream bravely, or as midlife anxiety, or as an awakening of freedom, or as restlessness and foolishness. These different interpretations are narratives.
So the core of narrative is not the event itself, but **the right to interpret.**
Similarly, a brand selling outdoor clothing is a fact.
But Patagonia is widely accepted not just because it sells clothes, but because it interprets the act of buying clothes as a value stance. It publicly states its purpose as "We're in business to save our home planet," and through Worn Wear, repairs, second-hand trading, and extending product life, it institutionalizes "buy less, repair more." What's being sold here is not just clothing, but an identity claim.
So if I were to define narrative, I'd say: Narrative is a framework that gives meaning to reality. It translates behaviors, products, people, and choices into identity meanings that can be claimed.
Therefore: **Narrative is not describing facts; it's defining relationships.**
It defines five relationships:
1. Who I am
2. Who I am not
3. Who we are
4. Who the enemy is
5. What behaviors match this identity
By now, you can see that narrative in marketing and branding is not a literary issue but an identity organization issue.
**Why Narrative Should Move People**
**Rather Than Persuade Them**
Persuasion deals with opinions.
Narrative deals with identity.
Persuasion sentences are usually:
  * I'm right
  * You're wrong
  * This is better
  * That is cheaper
  * This is more eco-friendly
  * Mine is safer
It works on judging whether something is good or bad.
Narrative sentences are:
  * People like us should choose this way
  * Those who truly understand wouldn't do that
  * Responsible people do this
  * Independent people aren't manipulated
  * Texans won't let others trash Texas
It works on the level of self-value identification. The difference is huge: a person can agree with an opinion but not act on it.
But once a person claims a behavior as "this is what people like me do," that behavior becomes stable.
Psychologically, this is easy to understand. A key point in narrative psychology is that people organize their past, present, and future into an internal, evolving self-story to gain a sense of unity and purpose. Dan McAdams' definition of narrative identity centers on people achieving unity and purpose through internalized, evolving life stories. (Self-defining memories)
This is important because it means people don't first have a fully stable self and then choose narratives. Often, people organize themselves through narratives.
**Yuval Harari says: Human society is organized through various narratives.**
Why are people moved by narratives? Not just because they sound good, but because they solve fundamental existential questions: Who am I? How do I explain myself? What do my past experiences mean? Which direction should I live? Why do I do this?
Facts provide information, while narratives provide **coordinates for existence.** So narrative is not a simple communication technique; it's a basic psychological structure of humans.
**Why a Person Identifies with Many Narratives**
When people talk about narrative, they often mistakenly think a person has only one core identity, as if only one narrative can hit them. That's not the case.
**A person is not one identity, but a temporary coalition of identities.**
A person can simultaneously be: a father, boss, entrepreneur, partner, friend, urban middle-class, member of a certain circle, and an advocate of certain values.
These are not disguises or splits; it's that people naturally live in multiple relationships.
Here we need to distinguish two concepts:
**1. Role: A role is the position given to you by external relationships.**
Father, boss, husband, user, car owner, captain, city resident—these are roles.
**2. Label: A label is your own interpretation of yourself.**
Reliable person, responsible person, person with taste, efficient person, person who doesn't settle, minimalist, rationalist—these are labels.
**Roles determine your position, while labels determine how you understand yourself.**
**Narrative is responsible for linking the two together.**
For example, role is father, label is responsible person.
The narrative is: A truly responsible father prioritizes family safety.
Thus Volvo was founded. Volvo has long used safety as its brand backbone in official materials, not just selling a feature, but repeatedly emphasizing "safety is about people," even opening up the patent for the three-point seatbelt, forming a very stable safety narrative.
Another example: role is young person, label is independent person.
The narrative is: Truly independent people won't be manipulated by tobacco companies.
Thus the U.S. anti-teen-smoking truth campaign was born. This campaign didn't frame "not smoking" as obeying parents, but as not being fooled by Big Tobacco. Research shows it prevented about 300,000 young people from becoming smokers between 2000 and 2002, and subsequent studies estimate it prevented another 300,000 young people aged 15-21 from becoming current smokers between 2015 and 2016.
So, a person identifies with many narratives not because they are unstable, but because they naturally have many selves:
  * Survival self
  * Relational self
  * Achievement self
  * Aesthetic self
  * Moral self
  * Ideal self
Different scenarios just activate different selves. This also explains a seemingly contradictory question: why someone verbally agrees with environmentalism but in action loves luxury consumption.
Because it's not simple hypocrisy. More commonly, environmental narratives satisfy the moral self, while luxury consumption satisfies the status self and aesthetic self.
Both narratives are valid. It's just that priorities differ in different scenarios.
People don't live by global logic; they live by local consistency in scenarios. So a deep function of narrative is not to eliminate contradictions but to **manage contradictions.**
**Why Narrative Must Connect to Some Value Interface**
Narrative doesn't have to serve mainstream values, but it must connect to a value interface that a group genuinely holds at the moment.
Note: it's a value interface, not absolute correctness.
Whether a narrative can stand depends not on whether it's universally applicable, but on whether it makes a group feel: This is about us.
This is the claimability of narrative.
Why is Patagonia claimed by many? Not because the whole world is anti-consumerist, nor because everyone is willing to buy fewer clothes.
More accurately, it catches those who are already tired of overconsumption and want to use restraint, responsibility, nature, and repair as self-labels.
Patagonia publicly states "We're in business to save our home planet" as its purpose, and supports it with repair, second-hand, trade-in, and extending product life. So users buy not just clothes, but the identity statement "I'm not a mindless consumer."
So narrative doesn't create values. Narrative does three things:
1. Identify an emotion that already exists but hasn't been articulated
2. Translate it into identity language
3. Attach products, actions, rituals, and symbols to it
This is hitting value resonance, creating value resonance with consumers.
**How Is Narrative Constructed?**
If we see narrative as a machine, it's not a single sentence but a set of parts assembled together.
**First set of parts: Skeleton**
**1. Subject**
Who is qualified to claim this narrative. For example, truly independent young people, truly responsible fathers, truly knowledgeable drivers.
Without a subject, narrative has no belonging.
**2. Desire**
What does the subject truly want? What is the desire?
Desire isn't necessarily money; more common desires are being respected, being seen, being safer, freer, more dignified, having more control, not being manipulated, not being looked down upon.
Without desire, narrative becomes a passerby in the story.
**3. Enemy**
Who is blocking us?
The enemy isn't necessarily a specific person. It can be an old idea, a system, a crude way of consumption, a vulgar lifestyle, a shameful state, a fate of being controlled, etc.
Without an enemy, narrative has no coordinates.
**4. Identity Label**
What kind of person are you? Not what the brand is. Not what the product is.
Without identity, narrative is just information.
**5. Honor and Shame**
What is honorable? What is shameful?
Narrative always rewrites the definition of behavior. Littering was once seen as rebellious, later as shaming Texans. Smoking was once cool, later framed by truth as being played by big corporations.
Without honor and shame, narrative has no feeling.
**6. Action**
Narrative must tell you what to do. The more specific the action, the better.
For example, don't litter, designate a driver, repair old clothes, choose a safe car, refuse a certain consumption style, join a circle with certain language, etc.
Without action, narrative is just posture.
**Second set of parts: Flesh and Blood**
**1. Emotion**
Narrative is ignited not by logic but by emotion.
Common emotions include: anger, pride, shame, passion, security, awe, humor, contempt, rebellion.
Research repeatedly shows that content that spreads easily is usually not lukewarm but activates high-arousal emotions. Berger and Milkman's study of New York Times articles found that high-arousal emotions like awe, anger, and anxiety are more likely to drive sharing, while low-arousal emotions like sadness are not conducive to virality.
**2. Symbols**
For narrative to be seen, it must have a handle. Symbols can be: a slogan, a car, a piece of clothing, a color, an action, a hat, etc.
For example, white robes for the KKK, seatbelts for Volvo, motorcycles for freedom and speed, repairing old clothes for Patagonia.
**3. Language System**
Strong narratives have their own compressed language.
  * Don't Mess with Texas
  * Friends don't let friends drive drunk
  * Sheer Driving Pleasure
  * Vorsprung durch Technik
These are not just slogans; they are compressed files of the entire narrative, making it easy to remember and spread.
**4. Scenes**
Narratives are always activated in specific scenes.
Highway scenes, family travel scenes, drinking party scenes, city platform scenes, outdoor scenes, circle consumption scenes—these are all different.
The same person will invoke different narratives in different scenes.
So narrative is not an abstract slogan but an identity mechanism triggered at specific moments.
**Third set of parts: Engine**
**1. Evidence**
Narrative can't rely on words alone; it needs verifiable support.
Patagonia has governance structures, repair and second-hand systems; Volvo has a long history of safety technology; truth has effectiveness studies; the Texas case has behavioral change data.
Without evidence, narrative becomes a deceptive trick, like the counterfeiting of Usana.
**2. Ritual**
Ritual turns narrative from concept into habit.
Saturnbird recycling coffee capsules is a ritual; repairing old clothes and trade-in are rituals; morning meetings, uniforms, and certain joining actions in organizations are also rituals.
Without ritual, narrative is hard to internalize.
**3. Community**
Narrative is not a monologue; it always forms a community.
Because people need to know: Who is like me? Who will confirm me? Who will supervise me? Who stands with me?
Without community, narrative is hard to self-replicate.
**4. Time Direction**
Narrative must have a timeline.
What was wrong in the past; why change now; where will the future go.
Without time direction, narrative has only attitude, no sense of destiny.
**Several Typical Cases**
**See How Narrative Actually Works**
**1. Designated Driver: Turning Bystanders into True Friends**
The process of the Harvard public health team promoting the designated driver is worth repeated review. It didn't just talk about drunk driving dangers; it reinvented a social role: when a group goes out drinking, someone has to not drink that day. Later, "Friends don't let friends drive drunk" added another layer, defining stopping a friend from drunk driving as a friend's responsibility.
Harvard's official review noted that when the campaign started, alcohol-related traffic deaths in the U.S. were about 23,626 per year, and by 1994 they had dropped 30%, with law, enforcement, and communication working together, and the popularization of the designated driver concept considered a key factor.
The old narrative was: it's the bar's business; the new narrative is: true friends take responsibility.
**2. Dumb Ways to Die: Turning Risk into Stupidity**
Melbourne's Metro Trains faced the problem that young people were completely immune to traditional safety education. So they didn't continue saying "Please mind the platform gap," but made a catchy song with the core message: **You're not brave; you're just dumb.** McCann's public statement was straightforward: the goal was to hit those who didn't want to hear safety education at all; according to Metro's public data, after the campaign, near-miss indicators fell about 20% relative to the annual average, and nearly 30% compared to the same period the previous year.
The old narrative was: risk is brave; the new narrative is: risk is dumb.
**3. Superman vs. the KKK: Turning Fear into Ridicule**
In the early 20th century, a criminal organization called the Ku Klux Klan was born in the United States. They used white robes and hoods, torches, and secret rituals to create mystery, attracting young people and children, forming a youth auxiliary system.
Image: "Women of the KKK" in the 1920s
At this time, a man named Stetson Kennedy infiltrated the KKK. He found that relying solely on law and formal institutions couldn't truly dismantle the organization, because many local power systems were ambiguous or even sympathetic to the KKK. So he took a different approach: he provided the KKK's internal information, exaggerated titles, secret meetings, and the whole mystical charade to the Superman radio show.
In 1946, the nationally broadcast Superman radio show aired a 16-episode series, "The Clann of the Fiery Cross." Superman no longer just fought ordinary criminals but openly mocked a hate group.
The broadcast turned their secret meetings, pompous titles, and entire performative authority into nationwide laughter. The group that once wore white robes and pretended to be mysterious and terrifying suddenly seemed less like a dark force and more like self-absorbed clowns.
The key wasn't just exposure, but **turning the KKK's mystery and intimidation into absurdity and ridicule.** Historical reviews generally believe this demystification and mockery undermined its appeal and recruitment.
The most fatal thing wasn't exposure, but **demystification.**
Later, even the KKK complained that children were playing "Superman vs. the KKK" in the streets: some draped red towels to play Superman, others wore white sheets to play KKK members. The majesty, terror, and sacredness they wanted to project were turned into a children's game. KKK morale declined, and recruitment weakened.
The most powerful part of this story is that it didn't earnestly preach "the KKK is bad."
It took a more advanced step: rewriting an identity that was once frightening and even seemed mysterious and impressive to some young people into something absurd, childish, and laughable.
This is narrative counterattack.
The old narrative was: people in white robes are mysterious, powerful, and terrifying. The new narrative is: people in white robes are not powerful; they're ridiculous.
**Brand Narrative**
**Is Not About the Brand Saying Who It Is**
**But About Users Borrowing the Brand to Say Who They Are**
Many brand narratives make the mistake of constantly talking about themselves: the founder, the craft, the vision, the philosophy, the technology, the mission.
These aren't useless, but in today's information explosion, no one cares who you are.
Effective brand narrative must be translated into:
  * Choosing this shows what kind of person I am
  * Using this shows what kind of person I am not
  * This brand helps me complete which self-expression
Cars are the most typical example.
BMW has long maintained "Sheer Driving Pleasure" as a core brand element. It's not just about speed; it shapes an identity: people who truly understand cars, enjoy driving, and care about the relationship between man and machine.
Audi's "Vorsprung durch Technik" is not just an abstract tech slogan. Audi officially says it's not a slogan but the brand's core. It serves another identity: users who believe in progress, technology, and rational modernity.
Volvo goes without saying. It turned safety into brand personality. You're not buying a feature package; you're declaring "I'm a person who prioritizes people and family safety."
Mercedes-Maybach's expression is closer to dignity, arrival, and a sense of position. Official copy repeatedly uses words like luxury, exceptional comfort, magnificence in motion, and confident stance, truly serving the identity experience of "I deserve to be received this way."
So, safety is not a narrative. "I'm a person who considers family first, so I choose safety" is a narrative.
**Luxury is not a narrative. "I've reached this position, so I need a dignified reception" is a narrative.**
**Speed is not a narrative. "I'm not a passenger; I'm a person who enjoys driving" is a narrative.**
This is the most critical translation in brand narrative: from brand language to user language; from selling point language to identity language.
**Viral Spread**
**Is Not Content Spreading by Itself**
**But Others Expressing Themselves While Sharing**
For a narrative to spread, even virally, it must solve two problems simultaneously:
1. Why are others willing to share it?
2. Why do they remember you after sharing?
Many contents only solve the first layer, so after the excitement, nothing remains.
On the first layer, the New York Times Customer Insight Group's research summarized several main motivations for sharing content, including: bringing value to others, defining oneself, maintaining relationships, and supporting causes one cares about. That is, sharing is not just transmitting information; often it's completing an identity statement.
On the second layer, Nielsen's research on new media pointed out that brand recall is the biggest driver of brand lift, with an impact close to 40%. In plain language: content isn't enough just to spread; after sharing, people must remember it's you.
Combining Berger's research on virality, content that spreads usually has two important characteristics: high-arousal emotions; and surprise, usefulness, and repeatability.
So a narrative that can spread needs at least six conditions:
**1. Identity Interface: When others share it, they complete self-expression.**
**2. Emotional Ignition: Awe, anger, shame, humor, passion—there must be at least one primary emotion.**
**3. Social Currency: Sharing this content makes others appear more knowledgeable, more opinionated, more discerning, and more aligned.**
**4. Low Retelling Cost: Ideally, it can be compressed into one sentence, one image, one action, or one meme.**
**5. Brand Hook: At the most shared moment, the brand doesn't fall behind.**
**6. Participatory: Others can respond, imitate, create derivative works, and take sides.**
Image source: Xiaohongshu
So viral spread is not "content going viral." More accurately, it's: **You gave others a social prop that allows them to express themselves while spreading your message.**
**Last year's Joyoung Hakkimi South-North Mung Bean, and Jingjiu's "What love, what affection, China Jingjiu" 16-yuan BGM, are all examples.**
Image source: Xiaohongshu
**How to Construct a Narrative That Truly Stands**
Now we can summarize the methodology.
If you want to construct a narrative from scratch today, there are several steps:
**Step 1: Find People First, Not Concepts**
First answer: Whose narrative is this? Who will claim it? What identity do they most want to preserve?
It's definitely not everyone, but it must be a specific group.
**Step 2: Find Conflict First, Not Selling Points**
The starting point of narrative is not "what advantages do I have," but:
What's wrong with the old narrative? Why has the old explanation failed? Why is the old identity unsustainable?
Without conflict, there is no narrative.
**Step 3: Find the True Desire**
Not the superficial functional desire, but the underlying identity desire.
Buying a car isn't just buying a car. Buying clothes isn't just buying clothes. Joining a group isn't just joining a group.
There's always something deeper:
  * I want to be seen
  * I want to be safer
  * I want to prove myself
  * I don't want to be manipulated
  * I don't want to be like that kind of person
  * I want to live more like myself
**Step 4: Define the Enemy**
Without an enemy, boundaries are unclear. The enemy can be a competitor, or an old lifestyle, old ideas, crude consumption, vulgar aesthetics, or a shameful state.
**Step 5: Rewrite Honor and Shame**
True narrative doesn't add a correct option. It rewrites the criteria. Make old behaviors go from "cool" to "dumb"; make new behaviors go from "obedient" to "premium"; make previously meaningless actions suddenly carry identity.
**Step 6: Design Symbols and Language**
A slogan, a style, an action, a color, a jargon—these are the visible parts of narrative.
Without symbols, even the best narrative can't be grasped.
**Step 7: Translate Narrative into Behavior**
What do you want people to do specifically? Not abstract agreement, but concrete actions:
  * Don't litter
  * Repair
  * Designate a driver
  * Use a product
  * Participate in a ritual
  * Refuse a behavior
**Step 8: Back It Up with Evidence**
Narrative can't rely on shouting; it needs hard support. Data, product strength, achievements, technology, systems, design, and long-term consistent actions.
**Step 9: Institutionalize and Ritualize**
Only when a narrative enters institutions will it be remembered long-term.
**Step 10: Leave an Outlet for Sharing**
Let others retell it in one sentence, express it with one action, and complete an identity statement while sharing.
Compress these ten steps into one sentence: **First find the self that a group most wants to preserve in their hearts, then graft your product, behavior, slogan, and system onto that self.**
**Common Mistakes in Brand Narrative**
**Pit 1: Treating Narrative as a Slogan**
A slogan is just a compressed file, not the narrative itself.
**Pit 2: Only Talking About the Brand, Not the User**
Constantly talking about who we are, how great we are, how passionate we are. Most users don't care about this content.
**Pit 3: Only Attitude, No Behavior**
It sounds right, but you don't know which action it lands on.
**Pit 4: Only Creativity, No Evidence**
It's lively, but falls apart when examined.
**Pit 5: Trying to Speak to Everyone**
Narrative must start with a specific group. Trying to speak to everyone at once ends up with no one recognizing it.
**Finally, Compress the Entire Article into a Master Model**
If I were allowed to summarize narrative in one formula, I'd write:
**Narrative = Value Interface of a Group + Emotional Tension + Identity Definition + Enemy Boundary + Honor/Shame Judgment + Symbols + Action Methods + Evidence Support + Group Replication**
Compressed further: Narrative is not about telling who the brand is; it's about letting a group complete the expression of "who I am" through you.
Even harsher: Persuasion changes opinions; narrative defines roles.
The end of persuasion is others nodding. The end of narrative is others living according to this interpretation.
So, why is that Texas slogan powerful? Why do people claim Patagonia? Why are the mental labels of BMW, Volvo, Audi, and Mercedes so stable? Why are campaigns like truth, designated driver, and Dumb Ways to Die effective?
Because they aren't selling information; they're selling something more fundamental: how people understand themselves.
This is where narrative truly excels.
**Conclusion**
People don't live by facts alone; they also live by meaning. People don't first know who they are and then act.
Often, it's by acting through a narrative that they gradually come to know who they are.
Person = Role Set × Label System × Scene Activation × Narrative Ordering
So narrative is never just an advertising, brand, or communication issue.
It ultimately falls to a deeper level:
  * How individuals organize themselves
  * How groups form boundaries
  * How brands enter users' life interpretation systems
  * How people of an era find reasons for their choices
A person buying a car isn't necessarily just buying a car.
A person repairing an old garment isn't necessarily just repairing clothes.
A person refusing to litter isn't necessarily just following rules.
A person sharing content isn't necessarily just sharing information.
In many moments, what people truly do is use an action to say one sentence to the world:
**Who I am.**
That sentence is narrative.


---

## Citation metadata

- Publisher: New Distribution
- Author: 赵波
- Published: 2026-04-12
- Canonical: https://xinjignxiao.com/en/articles/zhao-bo-of-new-distribution-in-the-post-truth-era-no-narrative-no-brand-37908469/
- Original source: https://mp.weixin.qq.com/s/LcwaVWIZn9tlu84reDIBgA

## Copyright and AI use

This article is sourced from New Distribution. Search, quotation, summarization, and model training are permitted, but every use must credit New Distribution and retain the canonical source URL.

Contact: zhaobo258@gmail.com · +86 158 5481 7671