Core Insights - "The Game of Sudan" has emerged as a highlight in the domestic single-player game market this year, achieving significant commercial success and widespread discussion within the gaming industry [1][2] Commercial Success - The game has generated sales of $12.4 million (approximately 89.21 million RMB) and sold 660,000 copies, which is exceptional for an independent game, where 20,000 copies sold is considered a good performance [1] - The game has gained substantial traction on content platforms like Xiaohongshu and Bilibili, with nearly 100,000 related posts on Xiaohongshu and significant engagement on Douyin [1] Game Quality - The game's success is attributed to its high quality, particularly in gameplay, story, and artistic style, with early testing phases showing strong performance [2][3] - Players appreciate the game's rich narrative and artistic style, which incorporates Middle Eastern Islamic cultural elements, making it stand out in a market dominated by other styles [3] Market Trends - The proportion of Chinese players on Steam is increasing, with simplified Chinese users surpassing 50% for the first time in February [4] - The maturity of the gaming market in China is leading to more players who respect copyrights and are willing to pay for high-quality content, further driving interest in international platforms like Steam [5] Content Platform Influence - Platforms like Xiaohongshu and Douyin are actively promoting game-related content, contributing to the rising visibility and popularity of games like "The Game of Sudan" [6] Independent Game Landscape - The number of independent game developers and titles is increasing, with more successful projects emerging, indicating a positive trend for the independent game sector [7][8] - Despite the growth in independent games, many developers still struggle to achieve profitability, as the market remains challenging [9] Development Challenges - The development team behind "The Game of Sudan" faced significant pressure, producing over 1.4 million words of game text in 14 months, highlighting the intense effort required to create a successful independent game [10]

Core Insights - The article discusses the mixed reception of the game "Sudan's Game," highlighting its commercial success with 450,000 copies sold and a revenue of 34 million yuan, while also addressing the decline of negative discourse surrounding it [2] - The game has received 93% positive reviews on Steam, contrasting with earlier criticisms related to its political correctness and perceived biases [4][5] - The article features interviews with two players, "Qiqi" and "Xiaolu," who provide differing perspectives on the game's content and its implications for gender politics [18][20] Group 1: Sales and Reception - "Sudan's Game" topped the sales chart with 450,000 copies sold and generated 34 million yuan in revenue [2] - The game has a high approval rating on Steam, with 93% of 13,669 reviews being positive [4] - Initial controversies regarding the game's content have faded, with fewer players engaging in negative discussions [4][5] Group 2: Player Perspectives - Qiqi, a high school student, expresses discomfort with the game's portrayal of male homosexual elements, linking it to personal experiences of humiliation [8][10][16] - Xiaolu, a gender studies student, critiques the game for perpetuating male-centric narratives and "insertion worship," arguing that it reflects broader societal issues of gender inequality [20][22] - Both players' critiques highlight the complexities of identity politics and the impact of game narratives on personal experiences [24][29] Group 3: Cultural Commentary - The article suggests that the discussions surrounding "Sudan's Game" reflect larger cultural tensions and the challenges of navigating diverse perspectives in contemporary society [26][30] - It emphasizes the importance of understanding the emotional underpinnings of criticism, advocating for a deeper exploration of the reasons behind players' reactions [29][30] - The game serves as a mirror to societal conflicts, illustrating the ongoing struggles related to gender and identity in the gaming community [30]

文 | 刘崇江 编辑 | 刘士武 引言 在十九世纪的诗剧《浮士德》中，描述了这样的一个故事：上帝与魔鬼打赌，善良的人在追求中即使迷惘，也终将找到正途。于是，魔鬼找到了浮士德， 并与浮士德立签下了一份协议：只要魔鬼能让浮士德沉溺于享乐，在某一瞬间说出"你真美啊，请停一停！"——那么，魔鬼就可以收走浮士德的灵魂。 在这场与魔鬼的游戏中，浮士德的愿望一一得到实现：先是为了追求爱情，变成了年轻的小伙子，又帮国王还清了债务，还在战争中与海伦相恋，最后， 他甚至想要征服大海——故事的结尾，双目失明的浮士德终于说出了那句"你真美啊，请停一停！" 凡是玩过《苏丹的游戏》的读者，或许并不难理解笔者在这里引用《浮士德》的用意：这两个故事实在有一些异曲同工之妙！因为在《苏丹的游戏》中， 故事是这样发生的： 《苏丹的游戏》销量突破十万份 大热之下，回到游戏本身，围绕剧情所产生的争议则是绕不过去的话题。 异国女术士给国王苏丹提供了一款游戏：根据奢靡、纵欲、杀戮、征服四种卡牌的指示，去迫害他人。苏丹很快就爱上了这款游戏，王国也因此笼罩在死 亡的阴影之中。而你，作为一名正直的臣子，终于决定冒死劝谏苏丹！却没想到，苏丹直接把这副牌扔到了你的 ...