From the main-melody story to gaming experience: is the Chinese digital game arena a potential counterpublic sphere?

Abstract

This article interrogates the possibility that the digital game arena plays a role as a ‘counterpublic sphere’ where alternative voices that violate the hegemonic narratives in the mainstream media culture can be expressed. Exemplified by The Invisible Guardian, a Chinese interactive role-playing game, we present the first study to bring political perspective into the Chinese digital game studies, combining narrative analysis and players’ experience to provide a comprehensive understanding of political engagement in China’s digital game arena. We argue that the digital game uses various strategies to portray figures from different political parties in a way that subverts mainstream main-melody dramas and sheds light on sensitive historical movements. This implies the potential of Chinese digital games to become a counterpublic sphere, delivering alternative voices that challenge the mainstream media discourse and stimulate gamers’ political introspection.

“Protecting our female gaze rights”: Chinese Female Gamers’ and Game Producers’ Negotiations with Government Restrictions on Erotic Material

“…Finally, our research also outlines the rich and multilayered game texts afforded by emerging new media technologies, which have allowed gamers to carry out microresistance to engage with their sexual fantasies. The highly interactive feature of video games with multiple story paths and hidden clues allows some players to create space for alternative expressions under tight censorship (Hu et al, 2022). These wide, open, evolving online spaces also enhance all kinds of female sexual fantasy via out-of-game fan participatory experience (Jenkins, 2006b).…”

The manufacture of militarized masculinity in Chinese series You Are My Hero (2021)

“…Through such collaborative efforts in producing cultural content that is intended for entertainment purposes, which also gained considerable popularity, I analyze the construction of ideal masculinity within the Chinese context, via direct participation of a government agency, through the means of a romance drama that can also be categorized as “main melody.” The influence of Descendants is evident as seen in frequent onscreen comments mentioning Descendants (Guduodata). Although the influence of Descendants is recognizable, the producers had to ensure that their production meets the criteria of both the Chinese state and market requirements by assembling elements that create the ideal “main melody” narrative that is at the same time accessible, palatable to the masses yet “ideologically correct” (Hu et al, 2022: 989).…”