Sharing Student Projects

This dissertation explores how Chinese players understand, feel, and learn from the cultural elements in Black Myth: Wukong, a 2024 Chinese action role-playing game adapted from Journey to the West. Existing research often focuses on Western-developed games, leaving a gap in understanding how domestic players interpret culture-rich Chinese titles. This project aims to fill that gap by examining how cultural recognition, emotional identification, and informal learning take place during gameplay. The study involved four Chinese participants, including two players who had completed the game and two non-players who were familiar with Chinese culture but had not played the game. The interviews explored three research questions (RQs): how players recognise and interpret cultural elements (RQ1); the emotional and identity connections they form (RQ2); and their willingness for further cultural exploration beyond the game (RQ3). All interviews were conducted in Mandarin to ensure accurate expression of cultural concepts. Data were collected through semi-structured interviews, including live reactions to selected gameplay footage. The transcripts were analysed using thematic analysis, combining both deductive coding, guided by the “games-as-text / games-asaction” framework, and inductive coding to capture new insights emerging from the data. Findings show that players recognise cultural elements along two main pathways. First, some symbols trigger immediate recognition, such as Erlang Shen’s third eye, Zhu Bajie’s pig hooves, the Ruyi Jingu Bang, or traditional Chinese instruments like the xun and suona. These elements draw directly on shared cultural memory and are quickly identified. Second, other interpretations develop more gradually through gameplay, particularly when players must understand unfamiliar mechanics, follow complex boss narratives, or uncover the meanings of objects like the Root Bones. This reflects a “learning through doing” process similar to situated learning. Emotionally, players expressed strong feelings of nostalgia, cultural pride, and identity connection. Music like the Qinqiang opera scene or melodies from the 1986 Journey to the West TV series triggered childhood memories and cultural familiarity. The protagonist’s journey also evoked a sense of growth and self-cultivation, reinforcing identification with the hero figure. Finally, the study found that engaging with the game often motivated players to explore Chinese culture beyond the game world, such as researching myths, reading character backstories, or discussing design elements in online communities. However, this wasn’t true for everyone, showing that a game’s educational effect depends on the player’s own interests and background. Overall, the study concludes that Black Myth: Wukong can serve as both entertainment and a resource for cultural reflection and identity construction. Its educational value, however, is not automatic; it emerges from how players choose to interact with and interpret the game’s cultural layers. The research contributes a player-centred, qualitative understanding of how culturally embedded games are experienced by their domestic audience.

This research offers practical insights for multiple groups, particularly in cultural communication, education, and the creative industries. For general audiences, the findings show that commercial games can act as an accessible entry point into traditional culture. They can strengthen cultural confidence and reconnect young people with traditional stories, art, and music. Features such as opera, painting styles, and mythological symbolism can spark curiosity and encourage people to revisit their cultural heritage in modern contexts, thereby supporting meaningful cultural inheritance. For educators, the study highlights how digital games can support informal learning. Even when players do not intend to “study,” they still absorb cultural knowledge through exploration, interaction, and emotional engagement. This encourages teachers and educational practitioners to consider using culturally rich games as supplementary resources in courses related to literature, citizenship, or art appreciation. Even short gameplay clips or discussion-based sessions could help students connect classroom knowledge with lived cultural experiences. For the gaming industry and cultural institutions, the results emphasise the value of embedding cultural depth into design. Participants responded positively to authentic cultural cues, such as Qinqiang Opera and traditional design, and felt pride when these elements were presented confidently. This reinforces the idea that thoughtful cultural design, such as foreignisation strategies, authentic symbolism, and high-quality audiovisual elements, can increase both domestic acceptance and global visibility. Museums, cultural organisations, and content creators may also benefit from understanding how games can drive public interest in mythology, classical literature, and traditional arts. Finally, the research contributes to wider discussions on cultural dissemination. It shows that well-designed Chinese games can help counteract cultural discount and promote cultural diversity, suggesting digital games can serve as bridges between traditional heritage and contemporary media ecosystems.