adminThe Scroll of Taiwu is a wuxia role-playing game inspired by Chinese mythology, and its journey from a domestic success to an English-language release offers insight into China’s evolving PC games market. ConchShip Games’ developers discuss what helped the game stand out, how studios can connect with Chinese players, and why they chose not to use generative AI to create its game content.
Image credit: ConchShip Games
The Scroll of Taiwu and its rise in China
Set in an alternate version of ancient China, The Scroll of Taiwu combines role-playing, simulation and management elements. It entered Steam Early Access on September 20, 2018, when the platform’s Chinese audience had grown to more than 30 million users. At the time, Dota 2 had helped introduce many Chinese players to Steam, while a growing range of Chinese-language games, regional pricing and local payment options also supported its expansion.
The game sold more than one million copies within two months and eventually attracted over 3.4 million players. Its popularity was notable internationally, as it reached number two in Steam’s bestseller rankings despite not having English-language support. It has since left Early Access with full English support.
The game takes place in an alternative ancient China. Image credit: ConchShip Games
ConchShip founder and lead developer Zheng Jie, also known as Qiezi, attributes the early success partly to the game’s distinctive approach. Rather than follow the Japanese RPG influences common in many Chinese games a decade ago, the team built around wuxia, a Chinese martial arts storytelling tradition. The result offers players freedom to explore interconnected systems and make choices within the game.
What Western developers should know about China
Although free-to-play titles have traditionally dominated China’s games market, Qiezi says interest in premium PC games is increasing. He notes that The Scroll of Taiwu added hundreds of thousands of wishlists in a single year, reflecting demand for engaging games that players are willing to pay for.
For Western studios entering the market, the developers highlight the value of a compelling story and well-researched cultural details. Chinese players are interested in more than games set in China: Kingdom Come Deliverance 2, which draws on European history, has also performed well there. Alinea Analytics estimated that China accounted for more than a fifth of that game’s revenue.
Lead artist Liuyi Xu, known as Mutong, cautions that superficial cultural references can undermine a game. Poor translation and Chinese elements that feel inauthentic may be obvious to players. Careful localisation should therefore go beyond translating words: studios should review cultural details and listen to how local audiences respond.
Practical takeaway: Build time into development for language review and player feedback. Cultural authenticity and clear communication can matter as much as the setting itself.
Community engagement across different platforms
Chinese gaming communities do not necessarily gather in one place. The Scroll of Taiwu built an audience through services including Baidu Tieba, Bilibili, QQ, WeChat and Little Black Box. Developers looking to reach players in China may need to understand several platforms rather than rely on a single community hub.
The game’s move toward Western audiences required a different kind of research. Publishing advisor Leye Yu, also known as Yager, found that many players and fan translators were active on Discord. The team’s experience suggests that local community knowledge is useful, but that consistent, informed communication is essential wherever players gather.
Yu’s advice is to understand the issues players are discussing by playing the same content and encountering the same problems where possible. That makes it easier to respond accurately instead of offering generic replies. Even when language support is limited, developers can build trust by acknowledging feedback and following up on reported issues.
The game includes cricket fighting, a pastime in China with a history of more than 1,000 years. Image credit: ConchShip Games
Why the developers rejected generative AI
Qiezi says no AI was used to develop The Scroll of Taiwu. He sees potential for AI tools in areas such as management or reducing the workload involved in communication, but distinguishes those tasks from creating a game’s artistic content. In his view, a game’s creative work should offer ideas and experiences that feel original.
Yager similarly describes game creation as a form of human expression. The developers are concerned that generative AI content could feel like a shortcut, particularly when players are paying for a game and can easily identify that content. For ConchShip, the risk is not only an artistic one: using AI in this way could damage the trust built through years of development and player feedback.
Qiezi also sees China’s industry changing, with more small and mid-sized studios able to sustain themselves by making games that find an audience. He points to the growth of Chinese PC games and titles such as Black Myth: Wukong as signs of a broader shift. As tools become more accessible, he argues, creative ideas and quality content are increasingly important to making a game stand out.
What The Scroll of Taiwu’s story shows
The Scroll of Taiwu’s success reflects the value of a distinctive cultural perspective, meaningful player freedom and sustained community involvement. For developers working across markets, the practical lessons are to localise carefully, meet players on the platforms they use and take feedback seriously. The team’s decision to keep generative AI out of the game’s creative content also reflects its priority: protecting the originality and player trust that helped The Scroll of Taiwu build its audience.
