French Media: Geopolitical Elements in the Video Game Industry — China, Iran, Russia, Japan — The Struggle Over Enemy Hero Roles and Tencent's Massive Acquisitions in the Western Market

Chinese tech giant Tencent has significantly increased its acquisitions and investments in the video game industry both domestically and internationally.

Video games beloved by players—from "Call of Duty" to the "Battlefield" series—typically adjust their "villain" and hero characters based on geopolitical dynamics and market conditions; these antagonists are often Russia, Iran, Japan, or even fictional nations. This is because today’s market-driven game developers aim to avoid offending specific markets amid constantly shifting geopolitical landscapes.

War-themed video games have long dominated the global gaming market and remain one of its flagship genres. From the "Call of Duty" franchise, which has sold over 500 million copies, to the "Battlefield" series with tens of millions of global sales, this genre embodies all the elements of success: intense pacing, Hollywood-style grand visuals, and bold, cinematic large-scale action sequences that leave players awestruck.

These games are set against global conflicts—ranging from historical events to fictional scenarios, reenactments of special operations, and imagined geopolitical crises—placing players at the heart of spectacular warfare, where combat choreography takes center stage while subtly embedding certain worldviews and visions of international power relations.

Yet today, the most observant players may have noticed a crucial shift: the identities of the enemy roles have changed. Just like in films, video games have long had ready-made scapegoats. For years, the Soviet Union—or post-Soviet Russia—has been systematically demonized. In multiple titles within the "Call of Duty" series, we encounter extreme nationalist villains such as Zakhaev or Makarov, Soviet generals like Dragovich, and even GRU officers like Kravchenko.

This narrative pattern is prevalent across other franchises as well. In "ARMA 2," pro-Russian insurgents fight against local forces backed by the United States and NATO. The same logic applies to one of the series’ most iconic titles, "Battlefield 3," where players face off against Russian special forces, Russian snipers, and even the rising presence of Iranian military units—all while fighting alongside an American Marine deployed in Iraq.

The Positioning of Enemy Characters Is Gradually Evolving

But how do players from countries frequently portrayed as "villains" in these scenarios perceive them? It’s difficult for young Chinese or Russian players to feel no emotional detachment when being pixel-bombed by their own compatriots. For major game studios, losing such player bases means massive revenue losses.

China currently boasts over 600 million gamers, while Russia has nearly 60 million. While not every player engages in war games, these numbers are substantial enough to attract investors—and sometimes prompt publishers to adjust their war-themed content to better suit these audiences.

Tencent's Major Expansion into French Game Publishers

Chinese conglomerate Tencent not only develops games through its internal teams—most notably TiMi Studio, which created globally popular titles such as "Honor of Kings" and "Call of Duty: Mobile"—but also significantly expands its influence through acquisitions and investments in the global gaming market. For example, Tencent holds approximately 10% of French publisher Ubisoft, and 25% of Vantage Studios, Ubisoft’s first creative studio responsible for developing franchises including "Assassin’s Creed," "Far Cry," and "Rainbow Six." This underscores Tencent’s growing strategic importance in the highly critical gaming industry.

In short, when game development studios are owned by Chinese companies, it becomes exceedingly difficult to portray China as the antagonist. Yet domestic players are not passive either. A few weeks ago, the first trailer for a Chinese video game titled "Fourteen Years of Flames" was released online. Marketed as a story-driven first-person shooter, the game aims to recreate China’s arduous struggle during the Second Sino-Japanese War (1931–1945).

China’s Long-Term Strategy: Investing First Domestically, Then Globally

On its Steam store page, the developer claims: “Players will assume seven pivotal roles, participate in 16 real historical events, and experience the hardships and sacrifices endured throughout 14 years of struggle.” Brian Karafiatian explains: “On the other hand, China pursues a long-term strategy—gradual investment, creating culturally significant games, focusing initially on the domestic market before expanding globally."

As French expert Brian concludes: “This is a carefully orchestrated approach, akin to how Chinese enterprises gradually integrate into international markets—aiming to exert soft power through cultural and historical normalization, while maximizing economic and strategic influence."

Today, due to concerns about offending certain markets and the need for cultural reinvestment, video games are increasingly becoming political tools—and instruments for reshaping history and collective memory.

Source: rfi

Original Article: toutiao.com/article/1861267140405260/

Disclaimer: The views expressed in this article are those of the author alone.