中华神话的价值正被重新发现和阐释

Core Insights - The article emphasizes the global cultural significance of Chinese mythology, particularly through the digital content represented by the "Black Myth" series, which aims to showcase unique cultural values and narratives to a worldwide audience [1][9]. Group 1: Cultural Significance of Zhong Kui - Zhong Kui is chosen as a character due to his cultural depth and creative flexibility, allowing for diverse artistic interpretations while maintaining cultural recognition [2][3]. - The character's traditional role as a ghost expeller provides a rich narrative potential, differentiating him from typical heroic archetypes and enhancing gameplay mechanics [3][4]. Group 2: Digital Reconstruction of Chinese Mythology - The digital reconstruction of Chinese mythology is seen as a profound cultural dialogue and innovation, contrasting with the successful commercialization of Western mythologies [5][6]. - The article highlights the challenges faced by Chinese mythology in terms of fragmented narratives compared to the cohesive structures of Western mythologies, suggesting a need for a unified approach [6][9]. Group 3: Cultural Confidence and Globalization - The success of the "Black Myth" series reflects a shift from cultural accommodation to cultural confidence, emphasizing the importance of showcasing Chinese cultural elements without dilution [8][9]. - The article argues that the unique cultural heritage of Chinese mythology provides a competitive edge in the international market, advocating for a narrative that resonates with global audiences while remaining true to its roots [9][11]. Group 4: Future of Chinese Cultural Products - The emergence of characters like Zhong Kui signifies a new era in the digital representation of Chinese mythology, offering a systematic cultural expression strategy [7][10]. - The article posits that the ongoing development of the Chinese gaming industry will lead to more culturally rich products that serve as important vehicles for cultural exchange and understanding [11].