Recently, Chinese-developed video games have faced a series of public controversies. Following the backlash against ‘Yanyun Sixteen Echoes’ over its character designs and historical narrative, NetEase’s asymmetric multiplayer mobile game ‘Identity V’ has again sparked heated debate—this time over its new character ‘The Red Lady.’ Critics argue that her visual design excessively borrows Gothic Western aesthetics without sufficient grounding in local cultural identity, while her passive and dependent backstory reinforces outdated gender stereotypes. In response, the developers issued a swift apology and pledged to revise the character’s portrayal, yet public skepticism persists. This incident highlights the ongoing challenge Chinese game studios face in balancing global stylistic appeal with cultural authenticity and social values. As developers strive to attract international audiences through cosmopolitan aesthetics, players are increasingly vocal about the need for culturally resonant narratives and progressive representation. Striking the right balance between creative innovation and cultural respect has become a critical issue for China’s gaming industry.
近期，国产游戏接连陷入舆论风波。继《燕云十六声》因角色设定与历史表述引发争议后，网易旗下非对称竞技手游《第五人格》又因新角色“红夫人”的美术风格与背景设定被指涉嫌文化挪用和性别刻板印象，再度引发玩家激烈讨论。部分玩家认为，该角色过度借鉴西方哥特元素，却缺乏本土文化根基，同时其被动、依附的叙事设定也被批评为强化女性弱势形象。面对质疑，官方迅速发布致歉声明并承诺优化角色设定，但舆论并未完全平息。此次事件再次凸显国产游戏在全球化表达与文化认同之间的平衡难题。一方面，开发者希望借助国际化美术风格吸引更广泛受众；另一方面，玩家对文化主体性与价值观表达的敏感度日益提高。如何在创新与尊重之间找到恰当路径，已成为中国游戏产业亟需面对的课题。
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