The Long Shadow of Censorship
Game Science’s Black Myth: Wukong is the perfect expression of the Chinese government’s vision, featuring a strong, extremely virile male character and telling a story in which women play a very marginal role.
Moreover, the same text from which it is taken, the famous novel Journey to the West, attributed to the scholar Wú Chéng’ēn, was like that, so from this point of view it is a very faithful transposition, at least on paper. Not bad, dating back to 1590, but that does not take away the fact that we are faced with a work approved by a government that has almost complete control over its country’s cultural production and which tends to impose its point of view on what is created in those parts.
I was wondering how many Westerners experience this, especially those who declare themselves annoyed by any form of political interference in video games, so much so that they declare the failure of a game like Tales of Kenzera: ZAU to be a positive thing because, according to them, it was due to the influence of a consulting firm, Sweet Baby Inc., specialized in issues related to inclusivity in the media, without having a shred of data to support this thesis.
Why is political correctness to be opposed in this case, while in Black Myth: Wukong it has no influence on the (pre)judgement towards the game? Precisely, for those who are wondering: I played Tales of Kenzera: ZAU and I found it a really mediocre metroidvaniabut certainly not because it is set in Nigeria or because it has a black protagonist. It is because it really has nothing different to offer compared to the competition and because it never has particularly exciting moments. This is to say that I do not have a particularly positive opinion of the game itself, which however came from a direct test of it.
This is an editorial written by a member of the editorial staff and is not necessarily representative of the editorial line of Multiplayer.it.
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