BEIJING:
Chinese video games are increasingly connecting ancient culture with younger generations. Through immersive digital design and real-world collaborations, homegrown titles are inspiring young players to rediscover traditional arts, driving tourism and reinforcing cultural confidence.
One prime example, Ashes of Kingdom, immediately captured players’ imaginations after its domestic launch last September, attracting fans with its richly detailed late Han Dynasty (202 BC – 220 AD) and the Three Kingdoms period (220-280) world.
In Yangzhou, east China’s Jiangsu Province, young gamers flocked to the city’s historic landmarks, including Slender West Lake, Ge Garden, and He Garden, as they were transformed into immersive in-game quest hubs.
From mid-May to late June, the collaboration project drew thousands of visitors eager to trace the lacquerware motifs featured in the game.
“The game has drawn many Gen Z travelers to Yangzhou to discover its beauty through its landscapes, cuisine and traditions,” said Dai Bin, deputy director of the city’s culture and tourism bureau.
During the three-day Dragon Boat Festival, the Yangzhou Intangible Cultural Heritage Treasure Museum welcomed approximately 20,000 visitors daily, a significant portion of whom were gaming enthusiasts. Under the guidance of master artisans, visitors sketched, inlaid and polished Luodian – also known as mother-of-pearl inlay – on wooden panels, transforming digital motifs into tangible artworks.
This “game-plus-heritage” model turns cultural landmarks into living classrooms, Dai added.
Cultural tourism-related online searches of the city surged by 300 percent during the month-long project as Gen Z travelers flooded in to experience Han culture firsthand, according to data.
Behind these successful activities stand young development teams who weave authentic history into modern gameplay. “We chose a few representative cultural fragments – lacquerware, guqin music and traditional attire – to spark curiosity,” said Xiao Meng, the producer of Ashes of Kingdom.
“It’s a two-way journey: We invite players in and they, in turn, bring new perspectives to our shared heritage,” she said.
Booming industry
National policies and education initiatives are fuelling this cultural craze further. In April, the Ministry of Commerce rolled out a game export plan that calls for the development of overseas gaming operations, the expansion of application scenarios, and the establishment of an industrial chain spanning IP development, game production, publishing and international operations.
Industry data underscores this momentum. According to the 2024 China game export report, Chinese-developed games achieved overseas sales of USD18.56 billion in 2024, representing a 13.39 per cent increase from the previous year.
In April this year, the Ministry of Education approved game art design as an undergraduate major at three institutions, including the Communication University of China and the Beijing Film Academy, with courses covering player psychology and the digital preservation of traditional aesthetics.
“A systematic design theory is needed in the gaming industry in China, and through education, we aim to instill more professional design principles and drive the sector’s healthy development,” said Liang Qiwei, a guest professor at the Communication University of China’s School of Animation and Digital Arts and the founder of Beijing’s S-GAME.
Thanks to the gaming boom, the revival of China’s traditional culture has moved beyond a mere trend, coming alive through a rich array of vivid cultural symbols and platforms.
Take Black Myth: Wukong as an example. The game was inspired by classic Chinese tale Journey to the West, which features the Monkey King, and became an instant global sensation, selling over 10 million copies across all platforms within three days of its launch.
The game’s global acclaim has marked significant progress in China’s endeavours to promote its culture overseas, demonstrating its increasing ability to break through barriers and overcome obstacles on the global stage, said Zhang Yiwu, a professor at Peking University.
Video games have become one of the most important media forms for cultural exchange, but developers must first ensure gameplay remains entertaining and cultural elements enrich rather than overshadow the overall experience.
The key to tapping into China’s cultural resources is to present them through innovative contemporary expression, Liang said.
