The Soft Power Output and Global Impact of Video Games

In today’s globalized world, the exchange and dissemination of culture has become a core element of international influence. Taiwan and mainland China have each been exporting their cultures through different forms of soft power, gradually influencing the views of gamers in Europe and the United States. As a highly infectious medium, video games are promoting the spread and penetration of cultural elements on a global scale, allowing the world a greater knowledge and understanding of Chinese culture.

Mainland China recently saw the launch of the game “Black Myth: Wukong,” which became a hot topic around the world, attracting more than 1.4 million players globally on its first day. Incorporating elements of Chinese literature, mythology, history and culture, this “Journey to the West”*-themed game has succeeded in captivating legions of both domestic and foreign players. More than just a game, it is a bravura display of Chinese culture, and through its storyline, character design and setting, foreign players gain a deeper experience and understanding of traditional Chinese culture. And as the global influence of games such as these expands, there may also be a renewed enthusiasm for learning Chinese and interest in Chinese culture.

In much the same way, Taiwanese game developers have successfully infused their games with local culture and history, achieving respectable results in the international market. Video games like “Detention,” for example, which is set on a campus during Taiwan’s martial law period, or “Devotion” and “The Bridge Curse Road to Salvation,” which incorporate elements of traditional Taiwanese religious customs, local legends and history, have successfully attracted the attention of players around the globe, sparking their interest in Taiwanese culture.

In this context, could game development companies on either side of the Taiwan Strait bridge the political divide and work together to develop games that incorporate cultural elements from both Taiwan and the mainland? This would not just attract more players; through the medium of video games, it would also promote the shared culture of both sides of the strait. Themes like “Mazu Lin Moniang,” for example — a deity worshiped on both sides of the strait — or a story set against a historical backdrop, such as the Battle of Kinmen (with minor adaptations), could make for very appealing games and further promote cultural exchanges.

In contrast, Japan and the U.S. have long dominated the soft power output of the games industry. Japanese games like “Super Mario,” “The Legend of Zelda,” “Final Fantasy” and “Dragon Quest” have been successful in introducing elements of Japanese culture (ninjas, samurai, Japanese aesthetics, etc.) into the daily lives of gamers around the world. Through continuous innovation and strong storytelling, Japanese games companies like Nintendo and Sony have allowed Japanese culture to maintain a lasting influence on the global market.

The U.S. games industry is not sitting around either, with companies like Blizzard Entertainment and Rockstar Games incorporating American culture, values and history into their games. The Grand Theft Auto series, for example, depicts in hyperbolic fashion the streetscapes of U.S. cities, while the global virtual community in “World of Warcraft” showcases the diversity and freewheeling spirit of American culture. The success of American games is therefore largely due to Americans’ strong marketing capabilities and their accurate grasp of global market demand.

As vehicles of culture, video games are not mere entertainment; they are also an important conduit for cultural exchange and output. Through the medium of games, nations such as Taiwan, mainland China, Japan and the U.S. combine their local cultures with the international market, not just strengthening their international influence but also promoting understanding and respect between different cultures. In the future, if game developers on either side of the strait manage to overcome political barriers and cooperate in developing games that incorporate the cultural characteristics of both Taiwan and the mainland, this can only increase the cultural influence that Chinese culture brings to the world.

In today’s dynamic global games market, games companies from different countries must not just face technical challenges but must also create ever-more influential works in terms of cultural output. If the two sides of the Taiwan Strait can work together in this area and combine their strengths, they will be better able to showcase the richness and diversity of Chinese culture to the world.

*Translator’s Note: A famous 16th-century Chinese novel and the source of the Monkey King character, Sun Wukong.