Chinese games interact with the world, and there have been frequent good news recently.

From a macro data perspective, in the context of intensifying global trade frictions, game going global has become a new driving force to activate the development of service trade. The "2025 China Game Going Global Research Report" shows that in 2025, the actual sales revenue of Chinese independently developed games in overseas markets will be 20.455 billion US dollars (about 144.026 billion yuan), a year-on-year increase of 10.23%, exceeding 100 billion yuan for the sixth consecutive year.

From the perspective of market products, after "Black Myth: Wukong" swept the world in 2024, multiple Chinese games have achieved frequent success in going global in 2025. "Yanyun Sixteen Sounds" even surpassed 500000 players in 40 minutes of its release worldwide, sweeping the top ten best-selling lists in 20 countries and regions; The open world game "The Legend of Jin Yong", based on the martial arts world of Jin Yong, recently released its first PV and live demo video, quickly topping the hot search list on multiple platforms and exceeding 6 million views.

It should be noted that more and more excellent game works are constructing a unique Chinese style "digital poetics". The interpretation of the gaming industry is not just limited to the level of "storytelling". The integration of traditional cultural IP and gaming, spreading Chinese culture to global players, injects new cultural cores into the high-quality development of the gaming industry.

The export of domestic games has clearly shifted from "product output" to "cultural empowerment" and "system output". Zheng Nan, Deputy Secretary General of the Game Working Committee of the China Audio Video and Digital Publishing Association, frankly stated that going global has become the core strategy of large game companies. They carry competitive intellectual property and works, actively participate in global competition, and begin to try to combine Eastern cultural elements with game experience to achieve the output of cultural soft power.

Looking at the global cultural industry, Western knight literature and superhero narratives have already formed a relatively mature and stable cognitive discourse system through media such as movies and games on an international scale. For China, one of the cultural themes with a complete system and far-reaching influence, martial arts, is accompanying games to go global, driving the spread of Chinese culture worldwide.

Professor Chen Peiqin from the School of Journalism and Communication at Shanghai International Studies University stated that with the sustained development of the Chinese economy, the increasingly perfect industrial system, and the first mover advantage of digital transformation layout, the "new three styles" of culture have become popular overseas. They have changed the basic positioning of cultural products for external promotion, attracted overseas audiences through market models, and demonstrated the charm of Chinese culture.

She specifically mentioned that Chinese stories have become perceptible, knowable, and understandable to global audiences through the use of new carriers. The integration of classical Chinese philosophical ideas such as "harmony between man and nature," "the doctrine of the mean," "yin and yang, and the five elements," and "the way of nature," has enriched the basic settings of cultural products and made overseas audiences sincerely admire the unique Eastern values. For example, the chivalrous spirit of "the greatest of heroes, serving the country and the people" in Chinese martial arts novels has won the appreciation of overseas readers.

From literary works such as Jin Yong and Gu Long, to films, comics, and games, martial arts has become an important "collective memory" in the Chinese speaking world. And when this memory is transformed into a globally accepted entertainment language, there is still enormous room for its cultural influence to be released.

Industry insiders say that compared to traditional film and television, games and animation not only have stronger immersion and interactivity, but also are easier to cross language and cultural barriers, transforming cultural dissemination from "telling you" to "inviting you to participate".

Under this trend, the open world game "Jin Yong Qunxia Zhuan" based on Jin Yong's martial arts world is regarded as one of the important exploration directions for the digital expression of martial arts culture. By integrating characters and worldviews from multiple classic novels into a freely explorable world, players are no longer just spectators of the story, but become actors and selectors within it.

Chen Mo, the chairman of the original generation and producer of the game "Jin Yong Qunxia Zhuan", believes that the spirit of justice, courage, trustworthiness, and benevolence in martial arts culture has universal human characteristics. As demonstrated by 'The Dark Myth: Wukong', high-quality content based on traditional culture has global appeal. What we need to do is to achieve a leap from cultural symbol output to emotional resonance establishment through high-quality products

Chen Peiqin stated that the "new three styles" of culture with Chinese culture as the spiritual core have made "Chinese style" a "new fashion" worldwide, and have brought new opportunities for telling Chinese stories well.

But she also reminds that the cultural market is an important arena for great power games. Faced with fierce market competition, in order to ensure their own market advantages, governments of various countries often provide strong support for their cultural products in market access, trade taxation, content review, intellectual property protection, and other aspects. Therefore, for Chinese cultural products to go global, systematic policy guarantees are crucial.