I just came up with a fun idea, If there’s a Chinese RPG developed like this with top quality, would it be loved by western audiences even if it is so complex?

[1159890536]

What I talk about is a RPG with real assets, not just like an ordinary Fantasy Chinese RPG in current market. Those RPGs are just adopt a some surface Chinese mythology, fantasy and religious elements. And these are not enough authentic and real-base. SO here is what I think. This RPG should be well-researched and faithful with real Chinese mythology, historical and religious contents. You probably know XianXia and WuXia stuffs in Chinese modern culture story, but these are just two big categories, and that is easy to distinguish, one is battle between non-mortals call Xianxia, and battle between mortals call wuxia. I am here just to talk about the first category-XianXia is basically means the heroes of non-mortals, and that is a big theme, as my ideal, if I want to have a faithful Xianxia rpg for westerns to play and have culture output efficacy as purpose, this rpg could develop base on many ancient Chinese mythological classics, "For example, the ancient classics such as the Classic of Mountains and Seas, the Huainanzi, and the Heaven Questions in the Songs of Chu, as well as the vast records of various mythologies in Chinese Buddhist sutras and the Daoist Canon” Although you know the may know Xianxia elements, but there is another category within this category, that is Honghuan Liu, The characteristics of the Honghuang (prehistoric) genre include a particularly ancient and grand worldview, some of which are exaggerated to an extreme extent. I have decided to incorporate the features of the Honghuang genre to align with some European fantasy worldviews in games. This includes integrating the teachings and myths of Daoist and Buddhist classics to narrate how the universe was created. According to ancient and contemporary Chinese beliefs, the universe is derived from the Dao, which is within all things yet transcends all things, a concept that is beyond description through language and logic. Following this is another supreme philosophical concept in Chinese thought—Tian (Heaven). Over time, both Tian and Dao have come to represent concepts that are both generative and transcendent. Hence, these two highly abstract concepts must be included.

Next, we should incorporate the Chinese supreme gods system. Daoism has integrated many traditional Chinese folk myths and Daoist myths, such as Pangu creating the world, Nüwa creating humans, and ♥♥♥♥ inventing the Bagua. Daoism has synthesized these into its pantheon, with the supreme gods being the Three Pure Ones. The Three Pure Ones are three manifestations of the Dao, and they are highly abstract, akin to the formless and invisible God in Islam. Therefore, this may be considered not just as supreme gods but something more complex. Thus, the supreme god could be Pangu.

Another concept is Tian. In Chinese thought, Tian also has corresponding supreme gods, mostly derived from folk mythology. In both Daoism and Confucianism, Tian shares similarities with the Dao. Following the characteristics of the Honghuang genre, we can make the worldview extremely grandiose by referring to the Daoist Canon's descriptions of heavenly immortals and deities.

Having discussed the overarching background, we move on to the mortal realm. In ancient times, the concept of the mortal realm was not limited to the Earth as we know it today. Ancient Chinese believed in a square earth and a round sky, while Buddhism speaks of three thousand great thousand worlds, which can be integrated. In ancient China, gods, Buddhas, and immortals were distinctly categorized, each with its own cultural significance. Particularly for Buddhas, I believe Buddhist doctrines should be incorporated into the worldview, including concepts like karma, which are unique to Buddhism.

Regarding human characters, I would set the story during the reign of Emperor Taizong of Tang (Zhenguan era) because this period was marked by the tribute of numerous foreign nations to the Tang Dynasty, fostering trade and development. As it is a Chinese mythological RPG, the governance of all other countries should also be under the jurisdiction of Chinese heavenly gods and immortals. There should be no notion of different pantheons for different countries since the Chinese mythological pantheon is essentially a Chinese interpretation of the world's mythology, ensuring cultural authenticity.

Furthermore, the customs, attire, and cuisine of the Tang Dynasty should be meticulously researched to create this RPG, avoiding modern aesthetic compromises that would be anachronistic. In terms of culture, ancient Chinese society was feudal, which might shock Western players but should not be overemphasized. Ancient China was known as the Land of Etiquette, with many cultural practices influenced by Confucianism, emphasizing propriety, gender distinctions, and decorum, which might affect the portrayal of female characters in the RPG.

Additionally, the concept of cultivation sects, where individuals can gain extraordinary abilities through training, should be included. As for production, using some Middle English forms could be beneficial since many terms in ancient Chinese culture do not have direct translations but can be creatively rendered using English grammar and logic. Voice actors should be guided to emulate Chinese speech patterns for better immersion. These are my general ideas.

For example, in Chinese, there are many different first-person pronouns, whereas English has only one “I.” An ancient immortal, in front of mortals, would refer to themselves as “this eminence” (本座). Although ancient Chinese did not have this specific term, this usage aligns with Chinese grammatical and linguistic habits. It is not appropriate to translate it using the English first-person “I” because Western countries, whether in ancient times or today, do not emphasize hierarchy and status as much as China does.

In China, the emperor uses the special term “Zhen” (朕) to refer to himself. This usage is absolutely necessary because it was exclusively used by the emperor in ancient times. The emperor would use this term when speaking formally to ministers and common people, emphasizing his status. These terms are essential for conveying the emphasis on status, something that cannot be achieved with the existing English language alone.

Although it may sound cumbersome, it is necessary. Other examples include a common person using “Zai xia” (在下) to express humility, and an official using “Mou” (某) when speaking to common people, indicating their high status but also their humility.

[Mr. Smiles]

First, needs a TL:DR.

Second, ideas are dime a dozen, get a prototype working and then we'll talk.

[1159890536]

Początkowo opublikowane przez Mr. Smiles:

First, needs a TL:DR.

Second, ideas are dime a dozen, get a prototype working and then we'll talk.

You don’t even get my basic idea, my idea is different than most companies in China game industry.

[Chika Ogiue]

With all respect, no one is going to read all that. Certainly not when your opening paragraph is 353 words and includes a sentence that is 141 words long!!

As for the bit at the end (that I skipped to), having to try and portray differences in politeness levels isn't unique to Chinese. Have a look at a range of Japanese experiences to see how different translators handle it.

[miakisfan]

Początkowo opublikowane przez 1159890536:

What I talk about is a RPG with real assets, not just like an ordinary Fantasy Chinese RPG in current market. Those RPGs are just adopt a some surface Chinese mythology, fantasy and religious elements. And these are not enough authentic and real-base. SO here is what I think. This RPG should be well-researched and faithful with real Chinese mythology, historical and religious contents. You probably know XianXia and WuXia stuffs in Chinese modern culture story, but these are just two big categories, and that is easy to distinguish, one is battle between non-mortals call Xianxia, and battle between mortals call wuxia. I am here just to talk about the first category-XianXia is basically means the heroes of non-mortals, and that is a big theme, as my ideal, if I want to have a faithful Xianxia rpg for westerns to play and have culture output efficacy as purpose, this rpg could develop base on many ancient Chinese mythological classics, "For example, the ancient classics such as the Classic of Mountains and Seas, the Huainanzi, and the Heaven Questions in the Songs of Chu, as well as the vast records of various mythologies in Chinese Buddhist sutras and the Daoist Canon” Although you know the may know Xianxia elements, but there is another category within this category, that is Honghuan Liu, The characteristics of the Honghuang (prehistoric) genre include a particularly ancient and grand worldview, some of which are exaggerated to an extreme extent. I have decided to incorporate the features of the Honghuang genre to align with some European fantasy worldviews in games. This includes integrating the teachings and myths of Daoist and Buddhist classics to narrate how the universe was created. According to ancient and contemporary Chinese beliefs, the universe is derived from the Dao, which is within all things yet transcends all things, a concept that is beyond description through language and logic. Following this is another supreme philosophical concept in Chinese thought—Tian (Heaven). Over time, both Tian and Dao have come to represent concepts that are both generative and transcendent. Hence, these two highly abstract concepts must be included.

Next, we should incorporate the Chinese supreme gods system. Daoism has integrated many traditional Chinese folk myths and Daoist myths, such as Pangu creating the world, Nüwa creating humans, and ♥♥♥♥ inventing the Bagua. Daoism has synthesized these into its pantheon, with the supreme gods being the Three Pure Ones. The Three Pure Ones are three manifestations of the Dao, and they are highly abstract, akin to the formless and invisible God in Islam. Therefore, this may be considered not just as supreme gods but something more complex. Thus, the supreme god could be Pangu.

Another concept is Tian. In Chinese thought, Tian also has corresponding supreme gods, mostly derived from folk mythology. In both Daoism and Confucianism, Tian shares similarities with the Dao. Following the characteristics of the Honghuang genre, we can make the worldview extremely grandiose by referring to the Daoist Canon's descriptions of heavenly immortals and deities.

Having discussed the overarching background, we move on to the mortal realm. In ancient times, the concept of the mortal realm was not limited to the Earth as we know it today. Ancient Chinese believed in a square earth and a round sky, while Buddhism speaks of three thousand great thousand worlds, which can be integrated. In ancient China, gods, Buddhas, and immortals were distinctly categorized, each with its own cultural significance. Particularly for Buddhas, I believe Buddhist doctrines should be incorporated into the worldview, including concepts like karma, which are unique to Buddhism.

Regarding human characters, I would set the story during the reign of Emperor Taizong of Tang (Zhenguan era) because this period was marked by the tribute of numerous foreign nations to the Tang Dynasty, fostering trade and development. As it is a Chinese mythological RPG, the governance of all other countries should also be under the jurisdiction of Chinese heavenly gods and immortals. There should be no notion of different pantheons for different countries since the Chinese mythological pantheon is essentially a Chinese interpretation of the world's mythology, ensuring cultural authenticity.

Furthermore, the customs, attire, and cuisine of the Tang Dynasty should be meticulously researched to create this RPG, avoiding modern aesthetic compromises that would be anachronistic. In terms of culture, ancient Chinese society was feudal, which might shock Western players but should not be overemphasized. Ancient China was known as the Land of Etiquette, with many cultural practices influenced by Confucianism, emphasizing propriety, gender distinctions, and decorum, which might affect the portrayal of female characters in the RPG.

Additionally, the concept of cultivation sects, where individuals can gain extraordinary abilities through training, should be included. As for production, using some Middle English forms could be beneficial since many terms in ancient Chinese culture do not have direct translations but can be creatively rendered using English grammar and logic. Voice actors should be guided to emulate Chinese speech patterns for better immersion. These are my general ideas.

For example, in Chinese, there are many different first-person pronouns, whereas English has only one “I.” An ancient immortal, in front of mortals, would refer to themselves as “this eminence” (本座). Although ancient Chinese did not have this specific term, this usage aligns with Chinese grammatical and linguistic habits. It is not appropriate to translate it using the English first-person “I” because Western countries, whether in ancient times or today, do not emphasize hierarchy and status as much as China does.

In China, the emperor uses the special term “Zhen” (朕) to refer to himself. This usage is absolutely necessary because it was exclusively used by the emperor in ancient times. The emperor would use this term when speaking formally to ministers and common people, emphasizing his status. These terms are essential for conveying the emphasis on status, something that cannot be achieved with the existing English language alone.

Although it may sound cumbersome, it is necessary. Other examples include a common person using “Zai xia” (在下) to express humility, and an official using “Mou” (某) when speaking to common people, indicating their high status but also their humility.

If a game is good why the hell should I care where it comes from? I don't regionalize games like some others do. A game is a game is a game no matter what country made it.

That said, any game coming out of China needs to be scrutinized because of their government. I want to make sure whatever I play that game on is safe from my data being stolen. It doesn't come into the hands of others before being OKed by security.

[1159890536]

Początkowo opublikowane przez Chika Ogiue:

With all respect, no one is going to read all that. Certainly not when your opening paragraph is 353 words and includes a sentence that is 141 words long!!

As for the bit at the end (that I skipped to), having to try and portray differences in politeness levels isn't unique to Chinese. Have a look at a range of Japanese experiences to see how different translators handle it.

That’s not count long for summarizing a big game’s base, because you western are basically only know surface about real Chinese mythology and fantasy culture and history. If doing well research. That should be needed.

[1159890536]

Początkowo opublikowane przez miakisfan:

Początkowo opublikowane przez 1159890536:

What I talk about is a RPG with real assets, not just like an ordinary Fantasy Chinese RPG in current market. Those RPGs are just adopt a some surface Chinese mythology, fantasy and religious elements. And these are not enough authentic and real-base. SO here is what I think. This RPG should be well-researched and faithful with real Chinese mythology, historical and religious contents. You probably know XianXia and WuXia stuffs in Chinese modern culture story, but these are just two big categories, and that is easy to distinguish, one is battle between non-mortals call Xianxia, and battle between mortals call wuxia. I am here just to talk about the first category-XianXia is basically means the heroes of non-mortals, and that is a big theme, as my ideal, if I want to have a faithful Xianxia rpg for westerns to play and have culture output efficacy as purpose, this rpg could develop base on many ancient Chinese mythological classics, "For example, the ancient classics such as the Classic of Mountains and Seas, the Huainanzi, and the Heaven Questions in the Songs of Chu, as well as the vast records of various mythologies in Chinese Buddhist sutras and the Daoist Canon” Although you know the may know Xianxia elements, but there is another category within this category, that is Honghuan Liu, The characteristics of the Honghuang (prehistoric) genre include a particularly ancient and grand worldview, some of which are exaggerated to an extreme extent. I have decided to incorporate the features of the Honghuang genre to align with some European fantasy worldviews in games. This includes integrating the teachings and myths of Daoist and Buddhist classics to narrate how the universe was created. According to ancient and contemporary Chinese beliefs, the universe is derived from the Dao, which is within all things yet transcends all things, a concept that is beyond description through language and logic. Following this is another supreme philosophical concept in Chinese thought—Tian (Heaven). Over time, both Tian and Dao have come to represent concepts that are both generative and transcendent. Hence, these two highly abstract concepts must be included.

Next, we should incorporate the Chinese supreme gods system. Daoism has integrated many traditional Chinese folk myths and Daoist myths, such as Pangu creating the world, Nüwa creating humans, and ♥♥♥♥ inventing the Bagua. Daoism has synthesized these into its pantheon, with the supreme gods being the Three Pure Ones. The Three Pure Ones are three manifestations of the Dao, and they are highly abstract, akin to the formless and invisible God in Islam. Therefore, this may be considered not just as supreme gods but something more complex. Thus, the supreme god could be Pangu.

Another concept is Tian. In Chinese thought, Tian also has corresponding supreme gods, mostly derived from folk mythology. In both Daoism and Confucianism, Tian shares similarities with the Dao. Following the characteristics of the Honghuang genre, we can make the worldview extremely grandiose by referring to the Daoist Canon's descriptions of heavenly immortals and deities.

Having discussed the overarching background, we move on to the mortal realm. In ancient times, the concept of the mortal realm was not limited to the Earth as we know it today. Ancient Chinese believed in a square earth and a round sky, while Buddhism speaks of three thousand great thousand worlds, which can be integrated. In ancient China, gods, Buddhas, and immortals were distinctly categorized, each with its own cultural significance. Particularly for Buddhas, I believe Buddhist doctrines should be incorporated into the worldview, including concepts like karma, which are unique to Buddhism.

Regarding human characters, I would set the story during the reign of Emperor Taizong of Tang (Zhenguan era) because this period was marked by the tribute of numerous foreign nations to the Tang Dynasty, fostering trade and development. As it is a Chinese mythological RPG, the governance of all other countries should also be under the jurisdiction of Chinese heavenly gods and immortals. There should be no notion of different pantheons for different countries since the Chinese mythological pantheon is essentially a Chinese interpretation of the world's mythology, ensuring cultural authenticity.

Furthermore, the customs, attire, and cuisine of the Tang Dynasty should be meticulously researched to create this RPG, avoiding modern aesthetic compromises that would be anachronistic. In terms of culture, ancient Chinese society was feudal, which might shock Western players but should not be overemphasized. Ancient China was known as the Land of Etiquette, with many cultural practices influenced by Confucianism, emphasizing propriety, gender distinctions, and decorum, which might affect the portrayal of female characters in the RPG.

Additionally, the concept of cultivation sects, where individuals can gain extraordinary abilities through training, should be included. As for production, using some Middle English forms could be beneficial since many terms in ancient Chinese culture do not have direct translations but can be creatively rendered using English grammar and logic. Voice actors should be guided to emulate Chinese speech patterns for better immersion. These are my general ideas.

For example, in Chinese, there are many different first-person pronouns, whereas English has only one “I.” An ancient immortal, in front of mortals, would refer to themselves as “this eminence” (本座). Although ancient Chinese did not have this specific term, this usage aligns with Chinese grammatical and linguistic habits. It is not appropriate to translate it using the English first-person “I” because Western countries, whether in ancient times or today, do not emphasize hierarchy and status as much as China does.

In China, the emperor uses the special term “Zhen” (朕) to refer to himself. This usage is absolutely necessary because it was exclusively used by the emperor in ancient times. The emperor would use this term when speaking formally to ministers and common people, emphasizing his status. These terms are essential for conveying the emphasis on status, something that cannot be achieved with the existing English language alone.

Although it may sound cumbersome, it is necessary. Other examples include a common person using “Zai xia” (在下) to express humility, and an official using “Mou” (某) when speaking to common people, indicating their high status but also their humility.

If a game is good why the hell should I care where it comes from? I don't regionalize games like some others do. A game is a game is a game no matter what country made it.

That said, any game coming out of China needs to be scrutinized because of their government. I want to make sure whatever I play that game on is safe from my data being stolen. It doesn't come into the hands of others before being OKed by security.

I don’t said where it came from, I am saying the game is about Chinese culture not where it came.

[Chika Ogiue]

Początkowo opublikowane przez 1159890536:

That’s not count long for summarizing a big game’s base, because you western are basically only know surface about real Chinese mythology and fantasy culture and history. If doing well research. That should be needed.

There is no reason, ever, to have a single sentence in English that is 141 words long; unless you're going for a world record. But even then, your sentence wouldn't be up to scratch. If you want people to consider your idea on the merits of the idea, learn to break your sentences down and to split you paragraphs into smaller more precise lengths.

[Slav Mcgopnik]

Amazing Cultivation Simulator is Chinese, deeply based on Chinese alchemy and Wuxia ideas and lore, and still managed to get a fan translation years before an official English one, and has a dedicated fan base in English.

So I will say, without reading that nightmare wall of text, yeah people are not afraid of diving deep into Chinese lore and mysticism for a game.

[Heraclius Caesar]

Początkowo opublikowane przez 1159890536:

I just came up with a fun idea, If there’s a Chinese RPG developed like this with top quality, would it be loved by western audiences even if it is so complex?

Out of curiosity, would these games be of interest to you or are they similar at all to what you envision?

The Emperor and State

House of Legacy

Wandering Sword

The Bustling World

[1159890536]

Początkowo opublikowane przez Heraclius Caesar:

Początkowo opublikowane przez 1159890536:

I just came up with a fun idea, If there’s a Chinese RPG developed like this with top quality, would it be loved by western audiences even if it is so complex?

Out of curiosity, would these games be of interest to you or are they similar at all to what you envision?

The Emperor and State

House of Legacy

Wandering Sword

The Bustling World

First one doesn’t relate to the fantasy I mentioned

Second as well

Third is wuxia game, but the clothing design aren’t real historical.

Forth is not fantasy too.

[1159890536]

Początkowo opublikowane przez Slav Mcgopnik:

Amazing Cultivation Simulator is Chinese, deeply based on Chinese alchemy and Wuxia ideas and lore, and still managed to get a fan translation years before an official English one, and has a dedicated fan base in English.

So I will say, without reading that nightmare wall of text, yeah people are not afraid of diving deep into Chinese lore and mysticism for a game.

This game is developed by modern design elements plus little bit ancient elements, doesn’t even match any dynasty or era. So that’s what I am talking about in the content which not absolutely purely Chinese culture. See, you don’t even get the point.

[1159890536]

Początkowo opublikowane przez Chika Ogiue:

Początkowo opublikowane przez 1159890536:

That’s not count long for summarizing a big game’s base, because you western are basically only know surface about real Chinese mythology and fantasy culture and history. If doing well research. That should be needed.

There is no reason, ever, to have a single sentence in English that is 141 words long; unless you're going for a world record. But even then, your sentence wouldn't be up to scratch. If you want people to consider your idea on the merits of the idea, learn to break your sentences down and to split you paragraphs into smaller more precise lengths.

how the hell that I don’t break down sentences? Didn’t you see commas?