Digital Innovation: How Gaming Connects Gen Z with Traditional Culture

In recent years, Chinese video games have emerged as a vital platform for connecting younger generations, particularly Gen Z, with their rich cultural heritage. This phenomenon, driven by immersive digital design and collaborations with real-world cultural landmarks, is not only inspiring young players to rediscover traditional arts, but also significantly influencing cultural tourism and reinforcing a sense of cultural confidence among the youth.

A prominent example is the game "Ashes of Kingdom," which captured the imagination of players upon its domestic launch in September 2024. Set in the historically rich backdrop of the late Han Dynasty (202 B.C. - 220 A.D.) and the Three Kingdoms period (220-280 A.D.), the game has attracted a substantial following. In Yangzhou, a city in Jiangsu Province, fans flocked to historic sites such as Slender West Lake and Ge Garden, which were transformed into immersive quest hubs. According to Dai Bin, Deputy Director of the Yangzhou Culture and Tourism Bureau, the game has significantly enhanced local tourism, drawing thousands of visitors eager to explore the cultural motifs depicted in-game.

"The game has drawn many Gen Z travelers to Yangzhou to discover its beauty through its landscapes, cuisine, and traditions," said Dai, noting that cultural tourism-related online searches surged by 300 percent during the project that spanned from mid-May to late June. The collaboration culminated in a three-day event during the Dragon Boat Festival, where the Yangzhou Intangible Cultural Heritage Treasure Museum welcomed approximately 20,000 visitors daily, many of whom were gaming enthusiasts. Participants engaged in hands-on activities such as sketching and polishing Luodian, a traditional form of mother-of-pearl inlay, thereby bridging digital motifs with tangible cultural practices.

The success of this "game-plus-heritage" model is attributed to the innovative approaches taken by young game developers. Xiao Meng, the producer of "Ashes of Kingdom," stated, "We chose a few representative cultural fragments—lacquerware, guqin music, and traditional attire—to spark curiosity. It’s a two-way journey: We invite players in, and they, in turn, bring new perspectives to our shared heritage."

National policies and educational initiatives are further propelling this cultural renaissance. In April 2025, the Ministry of Commerce introduced a game export plan aimed at expanding overseas gaming operations and fostering a robust industrial chain encompassing intellectual property development, game production, publishing, and international operations. The 2024 China Game Export Report revealed that Chinese-developed games achieved overseas sales of $18.56 billion, marking a 13.39 percent increase from the prior year.

Additionally, in April 2025, 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. This curriculum aims to cover player psychology and the digital preservation of traditional aesthetics, addressing the need for systematic design theory within the industry. Liang Qiwei, a guest professor at the Communication University of China's School of Animation and Digital Arts, emphasized the importance of instilling professional design principles to promote healthy sector development.

The gaming boom has catalyzed the revival of traditional Chinese culture, moving beyond a mere trend to manifest through vibrant cultural symbols and platforms. "Black Myth: Wukong," a game inspired by the classic Chinese tale "Journey to the West," exemplifies this trend. Within just three days of its launch, it sold over 10 million copies worldwide, marking a significant achievement in promoting Chinese culture on the global stage. Zhang Yiwu, a professor at Peking University, noted that the game's success illustrates China's growing capability to transcend cultural barriers and promote its heritage internationally.

Despite these advancements, it remains crucial for developers to strike a balance between engaging gameplay and the enrichment of cultural elements. Liang suggests that the key to effectively utilizing China's cultural resources lies in presenting them through innovative contemporary expressions. As the gaming industry continues to evolve, the intersection of digital innovation and traditional culture offers promising potential for cultural exchange and preservation, particularly among younger generations.

In conclusion, the integration of gaming and traditional culture not only enhances cultural tourism but also serves as a means of educating and engaging Gen Z with their heritage. The continued support from government policies, educational initiatives, and the creative efforts of young developers will likely pave the way for future innovations in this dynamic field.