Author: QINGYUE ZHANG

[Last modified: December, 4 2024 10:50 PM]

Our case focuses on the social lives of elderly people in community centers in London and their use of technology. Although this case is considered low-risk, we still need to pay attention to several key ethical and data protection issues.

Firstly, potential ethical issues include obtaining informed consent from participants. Elderly individuals may lack understanding of the complexities of technology and its usage, so the study must ensure that they fully comprehend the activities they are participating in and the potential risks involved. To achieve this, researchers should provide clear explanations and written materials to ensure that each participant can freely choose to participate rather than feeling coerced.

Secondly, data protection issues are critical. The study will involve collecting and processing participants’ personal information, including diary entries and interview content. Students should ensure that all personal data is anonymized and used solely for research purposes. Additionally, researchers should store data securely and promptly dispose of sensitive information after the study concludes.

Researchers must also guarantee that there is no form of coercion, allowing elderly participants to feel comfortable and free to express their thoughts and feelings honestly. Considering the presence of “vulnerable” individuals, the project may indeed involve some at-risk populations, such as elderly people with physical or mental disabilities. These individuals may face greater challenges in participating in the research, so researchers need to pay special attention to their needs and ensure that necessary support is provided.

[Last modified: December, 4 2024 10:32 PM]

I chose a home goods store as my observation site. As soon as I entered the store, I could feel its clear and unified decorative style. The products featured a significant amount of green, red, natural wood tones, and floral patterns, creating a countryside ambiance. To complement this style, the store owner had placed numerous indoor plants throughout the store. Although the overall product style was consistent, the owner cleverly used different colored wallpapers to divide the store into small spaces, creating the illusion of separate rooms without the barrier of walls or doors. I found this design very interesting and ingenious, so I casually took pictures of the different spaces with my phone.

In addition to focusing on the visual effects within the store, I also paid attention to other sensory experiences. I noticed that soft, upbeat jazz music or ethnically inspired tunes played in the background. I recalled that in my previous shopping experiences, some pleasant background music always helped me relax, making me more willing to spend time shopping in a particular store. An overly quiet or noisy environment can be distracting and reduce shopping time. With this feeling in mind, I recorded the music in the store; I believe that the songs chosen by the owner not only reflect their personal taste but also resonate perfectly with the store’s style.

[Last modified: November, 20 2024 07:04 PM]

Today, I went out to meet a friend for hot pot at a restaurant. As I stepped outside, I immediately felt an unusually cold breeze. This was likely due to the snow that had just fallen in London yesterday. I could sense the chilly, damp air in the wind, forcing me to huddle deeper into my coat and bury my face in my scarf while quickening my pace.

Arriving at the hot pot restaurant, I was greeted by a wave of spicy aromas. This familiar scent instantly transported me back to my hometown in China, Chongqing, a city renowned for its hot pot. Once seated, I anticipated feeling warm quickly; however, sitting near a draft made it impossible to escape the cold gusts that blew past my ears throughout the meal. I had to keep my down jacket on the entire time, which significantly impacted my dining experience.

By the time I headed home, it was almost four in the afternoon, which felt like evening in London’s winter daylight saving time. Looking up, I noticed that the weather was exceptionally clear, with a few clouds tinged golden by the sunset drifting across the blue sky. In the distance, the sky was gradually tinted with pink. The golden sunlight reflected off the glass of the tall buildings, creating a dazzling effect. Moved by the beautiful scene before me, I paused to take a few photos, and my spirits lifted as I appreciated the moment.

[Last modified: November, 20 2024 06:41 PM]

Reflection on the political dimension is indispensable when exploring the research project Black Myth: Goku. The cultural representation of the game involves not only the construction of cultural identity but also a broader political context, especially in the context of globalisation and the increasing intertwining of digital media.

Firstly, the project design is embedded with an assumption of cultural transmission, and indeed this assumption carries a certain political stance. By examining how traditional Chinese culture is re-presented through the medium of video games, we can see the pursuit of cultural confidence as well as national identity. This position may reflect China’s intention to construct a positive image and voice in the global cultural market. Thus, the success of the game is not only a commercial victory, but also an expression of cultural soft power.

My own position has inevitably intertwined with these political factors in the course of my research. For example, as a researcher, I need to be sensitive to prevent bringing personal bias and cultural superiority into my research. In particular, when analysing the acceptance of Chinese culture by players from different cultural backgrounds, I need to be aware of possible cultural biases and misunderstandings. This requires me to keep an open mind in the interviews and analyses, and to encourage a plurality of voices so as to reduce the interference of personal positions. When conducting in-depth interviews, the focus should be on exploring the cultural backgrounds and political sensitivities of the participants to ensure that they are able to express their views on games and culture in a bias-free environment. In addition, participant observation should be conducted carefully to ensure that my understanding of the player community is comprehensive and objective enough to avoid misunderstandings due to limited context.

 

[Last modified: October, 30 2024 12:51 PM]

I chose a restaurant on a boat as my observation site. This is a restaurant converted from a small red boat, quietly docked on a canal in London (Regent’s Canal). The restaurant is surrounded by residential areas, and there are few passersby on the walkways along the river, which immerses the restaurant in a tranquil environment. The location of the restaurant is separated from the street by a small iron gate, requiring visitors to ring a bell and wait for a staff member to open the door. This situation gives one the feeling of being a guest in someone’s home, making me psychologically sense that this is a place that feels intimate and cozy.

Upon entering the iron gate, I discovered that not only the restaurant boat was docked there, but also several small wooden boats, some of which have people living on them. I could see the light and furniture inside the boats through their windows, as well as the boat owners busy preparing dinner.

At the entrance of the restaurant, warm-colored light strips provide illumination, creating a cozy atmosphere. Upon entering the cabin, the dark red wooden structure, green walls, and plants in the corners bring a comforting sense of closeness to nature. The lighting in the cabin mainly comes from candles and small lamps on each dining table, making the interior relatively dim, yet particularly warm.

The restaurant features square tables that can accommodate up to four people, evenly arranged on both sides of the cabin. The distance between the tables is relatively tight but allows sufficient space for guests to move around comfortably. The restaurant plays soothing music at an appropriate volume, slightly masking the conversations from other tables, yet not so loud that it prevents hearing the person sitting across from you.

Based on the warm and romantic atmosphere created by this space, I found that most of the diners here are young couples. By observing their interactions, I could roughly discern that many of them come here for dating purposes. Occasionally, there are some families of three or four who gather here for meals. Overall, I conclude that this is a romantic spot favored by young couples.

[Last modified: October, 23 2024 01:33 AM]

In conducting research on cultural representations in Black Myth: Goku, it is crucial to recognise my own positionality as a Chinese researcher and the ethical dimensions that I may face. Firstly, as a Chinese, I have a deep emotional identification with traditional Chinese culture. Moreover, much of my interest in the game Black Myth: Wukong stems from the fact that the game’s scenic modelling uses many ancient Chinese buildings and statues located in my hometown as source material. This sense of cultural identity and pride in my hometown may incline me to either affirm its presentation of traditional culture and the positive role it plays at the level of cultural dissemination in the process of conducting my research, or bias the selection and judgement of the research material, thus reducing the discussion of its complexity or potential negative impact.

It is also important to be aware of the possible limitations of one’s perspective when considering the game Black Myth: Goku as a cultural medium. As a researcher, my developmental and cultural context may be very different from that of other players. For these players, their understanding of traditional Chinese culture and this game may be different from mine, and ignoring these differences will lead to a one-sided understanding of cultural transmission. For example, when conducting player interviews or observations, my identity may affect the players’ expressions. When confronted by a researcher, players may cater to or avoid certain topics for different reasons. Some players may not focus on the modelling of scenes or cultural connotations in the game, but rather amplify their own concerns on these levels due to my focus on the field. Such a context may affect the authenticity and integrity of the information.

Therefore, throughout the research process, I need to maintain self-scrutiny, and by regularly reflecting on my own assumptions and biases, I try to avoid the possibility that my own identity and the questions in the interviews may influence or even induce the interviewees, so as to maintain the objectivity of the research, and to ensure that the research results reflect the authenticity and diversity of the voices.

 

[Last modified: October, 17 2024 01:32 AM]

Since my research focuses on the game Black Myth: Wukong and its related online communities, most of my observations were conducted online. I accessed several popular social media platforms in China to search for content related to Black Myth: Wukong, observe the types of discussions that emerged, and analyze the reactions in the comment sections.

On the video-sharing platform Bilibili I found that many content creators produce long, in-depth videos explaining the storylines, cultural context, and background of Black Myth: Wukong. These videos often feature detailed analysis of the game’s narrative and cultural elements, and the comment sections are filled with viewers engaging in discussions about the background knowledge presented. Interestingly, I also observed that reaction videos from foreign players attracted a significant number of views on Bilibili. These foreign players are often impressed or intrigued by the highly Chinese aesthetic and design elements in the game. Many Chinese fans of Black Myth: Wukong seem eager to see how foreigners react to these culturally specific scenes. To a certain extent, Chinese players view the game as a way to showcase Chinese culture, hoping that people from other countries will experience the uniqueness and artistry of Chinese culture through the game.

On another experience-sharing app, Xiaohongshu, I noticed that the influence of Black Myth: Wukong has extended beyond just the game or online platforms. Since many of the game’s scenes are modeled on real-life Chinese historical buildings, a growing number of people are now visiting these actual locations. Some local governments have even begun to produce Black Myth: Wukong-themed merchandise or organize tourism routes in collaboration with the game to attract more visitors. Users on Xiaohongshu often share comparison images of scenes from the game with their real-life counterparts and provide detailed travel tips.

[Last modified: October, 9 2024 01:00 AM]

Research Topic

This study aims to explore Black Myth: Wukong from an anthropological perspective, focusing on how cultural representation within the game enhances player immersion and fosters cultural resonance. Adapted from the classical Chinese literary work Journey to the West, the game integrates a rich array of cultural elements not only through narrative but also in its visual design, music, religious symbols, and architecture. The research will adopt anthropological theories to investigate the cross-cultural transmission of these cultural representations, examining how the game serves as a platform for modern cultural expression and construction.

Research Questions

1. How are traditional Chinese cultural elements utilized in the game, and how accurately do they reflect Chinese culture?

2. How does the reinterpretation and innovation of Journey to the West in the game enhance players’ sense of cultural identity and emotional engagement?

3. How do players from different cultural backgrounds respond to the game’s depiction of Chinese cultural elements, and how do these responses affect their immersion and gameplay experience?

Research Methodology

1. Game Content Analysis

   A detailed textual analysis of Black Myth: Wukong will be conducted, examining its visual design, environmental settings, character creation, and musical compositions. The study will focus on identifying and analyzing key cultural elements such as religious symbols and visual aesthetics.

2. Fieldwork Methods

   Drawing from anthropological fieldwork traditions, the research will engage in participant observation to investigate the cultural experiences of Black Myth: Wukong players. By embedding the researcher within player communities, this method will observe player interactions, cultural discussions, and reactions to in-game cultural elements.

3. In-depth Interviews and Cultural Analysis

   Semi-structured interviews will be conducted with players from diverse cultural backgrounds to understand how they interpret and experience the Chinese cultural elements in the game. The interviews will cover topics such as player responses to architectural styles, music, and religious symbols, and how they decode these elements within their own cultural frameworks

Potential Findings

1.The cultural representations in Black Myth: Wukong not only recreate traditional Chinese culture but also reconstruct cultural meanings within a virtual world. The symbolic portrayal of architecture, religious elements, and other cultural features will likely enhance player immersion, particularly for Chinese players who can identify with these cultural signifiers. Meanwhile, non-Chinese players may undergo a process of cultural empathy and adaptation, which could deepen their immersive experience as they engage with foreign cultural content.

2.As a virtual cultural space, Black Myth: Wukong illustrates how modern video games can serve as platforms for cultural exhibition. Players’ engagement and interaction with the game not only foster personal cultural experiences but also contribute to the reproduction and dissemination of cultural meanings through digital participation. This research may conclude that the cultural representations in games go beyond one-way cultural output; instead, they are recreated and transmitted through active player interaction and engagement. This positions games as important sites for cross-cultural exchange and interaction in an increasingly globalized digital landscape.

[Last modified: October, 1 2024 05:56 PM]

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