Reference news link:
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I’m not very familiar with this thing, but just a quick look at the news makes me feel disgusted.
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It says that what is “domestically produced” and what is “Cthulhu”. The second 3A game (they call the first one Black Myth: Wukong), and it also says to follow the hot sales list, then it makes news everywhere. I looked at this game and found it extremely disgusting, turning figures like Zhang Xianzhong and other peasant uprising leaders into parade boss villains, which made me furious 
Comrades who understand this thing, can you share your opinions?
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I saw a discussion on Zhihu today, and the general plot of this game is that Zhang Xianzhong’s peasant army is the main villain, and it slanders Zhang Xianzhong’s massacre in Sichuan. Although this person is viewing the game through a Han chauvinist lens, it also reveals the reactionary nature of the game.
This game is so crazy that many petit bourgeois can’t stand it anymore.
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My understanding of this thing is that it uses yellow as the selling point and promotes Zhang Xianzhong’s massacre of Sichuan, playing the role of a collection of dog shit with historical figures of the peasant army and the Southern Ming army as combat targets.
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It is like the Qing Dynasty landlord class slandering Zhang Xianzong as “Yellow Tiger,” and in this game, Zhang Xianzong is actually turned into a tiger monster.
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The game development team is indeed a remnant of the Yanluo demon
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You probably are playing, right?
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Huo Yan probably won’t play anymore, right? 
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That really is eating shit
This production team is truly a traitor to the Han nationality
This game is identified as a poorly made traitorous Chinese game, not only copying the gameplay and plot from Sekiro entirely, but also making players kill farmers, peasant uprisers, and anti-Qing generals, while refusing to kill surrendering traitors. It severely vilifies and slanders the peasant uprisers, setting Zhang Xianzhong as the final boss, claiming that the Sichuan and Shu regions became uninhabited because of Zhang Xianzhong’s uprising, that the Ming Dynasty declined because of his uprising, and that the plague spread because of him. The protagonist’s family is depicted as wholeheartedly suppressing the peasant armies to ‘serve the country,’ and both eunuchs and Chongzhen are portrayed as steadfast anti-Qing patriots. The game also features a bunch of erotic skins, although the original character design of the female protagonist was also sexualized, with some exposing her chest. Later, the game was criticized as a traitorous Chinese game, and the developers, unable to defend themselves, added a setting claiming that the Qing army outside the pass died of the plague, but in the game, Zhang Xianzhong’s death was accompanied by words similar to anti-Qing and restoring the Ming. This setting was completely added later due to criticism. Pink supporters would probably also criticize it.
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This game is purely a traitorous anti-Communist game, where the main characters kill peasant armies and Ming soldiers (although Ming soldiers are not good either), and it refuses to kill Manchu bandits, which is very disgusting. This broken game also makes Zhang Xianzhong the final boss, fully demonstrating the game developers’ deep hatred for the peasant uprising leaders. When Zhang Xianzhong was in Sichuan, he helped the poor people of Sichuan turn their lives around, killed the rich to help the poor, and executed the Shu King and others from a small group of exploiters. Today, these landlords and capitalists’ children are crying out for justice for the executed landlords, which is extremely reactionary.
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This game also reveals the hypocrisy of the Little Pink. When Little Pink players are boycotted by women and the people for playing pornographic games, they shout that it’s just a game. However, now a game that glorifies the Manchu invaders has been released, and Little Pink, driven by Han nationalism, opposes this game from the right. It’s just dogs biting dogs. This game has turned into a Hong Taiji simulator, and Little Pink is getting anxious. Originally, they wanted to play a Zhu Youjian simulator.
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I previously saw discussions about this on Zhihu. The game depicts three of Zhang Xianzhong’s four adopted sons as enemies, namely Li Dingguo, Liu Wenxiu, and Ai Nqi, but notably omits Sun Kewang, who ultimately lost his national integrity and completely betrayed the peasant uprising. This clearly shows what kind of thoroughly traitorous game this is.
However, if this game were not so traitorous and instead featured “punching the peasant army, kicking Dorgon,” then perhaps the little pinks would cheer joyfully and accept all the content in the game without question.
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That’s the case, and not only that, even the favorite ‘True Dragon Emperor’ Zhu Youjian of Ming fans has become a boss. These are definitely unacceptable to the little pinks. However, these little pinks generally believe that following a right-leaning surrender route and listening to the Southern Ming court’s commands, like Li Dingguo, is a hero fighting against the Qing and restoring Ming, which also shows that these people’s extreme reactionary imperial Han thoughts.
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I looked into it earlier, and the development team gave players who purchased the deluxe edition a skin called Golden Tiger Auspicious. This skin can only be seen in the game in full view, and its back features a Money Mouse tail whip, clearly indicating that the development team wants players to become full thieves.
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Unbelievable, this is too crazy and reckless, it has openly put treason on display.
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I haven’t played this thing, but during the promotion of this game, I paid attention to some of its pornographic content, so I learned about some of its content and components.
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This game is extremely reactionary, firstly because it caricatures the heroic image of Zhang Xianzhong and the Western Army. Among Zhang Xianzhong’s four adopted sons, only the traitor Sun Kewang is not considered an enemy, while the other three can all be killed as enemies. Moreover, Zhang Xianzhong is slandered in the game as a monster neither human nor ghost, which undoubtedly shows that the game’s creator’s stance is entirely that of the exploiting class. In their view, peasant armies are either “robbers” and “thieves” or demons and monsters, completely siding with the landlord class to sweep away the feudal system with intense hostility, to the point of demonizing the opponents. Conversely, not a single Manchu appears in the game, and traitors are not even considered enemies. Instead, the Sichuan tragedy is entirely blamed on the peasant armies and the Ming government, especially the former. This clearly demonstrates how much the author despises the working people and glorifies the Manchu rulers.
Furthermore, this game also embodies a reactionary historical view of the Manchu aristocracy, which is extremely hostile to peasant uprisings while glorifying the Ming landlord class. On the surface, Ming characters appear as enemies of the protagonists, but in reality, these Ming remnants are portrayed as “loyal ministers,” “filial daughters,” and “bright rulers.” The eunuchs, Jin Yi Wei, princesses, and others are not depicted as heinous villains but rather as loyal officials, even if they serve their respective masters. The Ming landlord class’s leader, Chongzhen, is portrayed as a good emperor who toils day and night in state affairs but is helpless against “treacherous ministers” and “robbers” (i.e., peasant rebels). These figures, as enemies of the protagonists, are depicted as grotesque and terrifying monsters, which is more of a caricature than defamation. It seems more like a distorted attempt to create “three-dimensional characters” to craft “more realistic” enemies, glorifying the heinous landlords as benevolent figures who “maintain stability and peace”.
Additionally, the female protagonist’s identity also reveals the reactionary nature of the game. She comes from a family of the infamous Ming secret police—Jinyiwei—and was educated under the reactionary landlord class, with an ideology of suppressing the people. After leaving her family due to some incident, she joins the so-called “sea merchants” at sea, which, based on her Japanese swordsmanship and her role in “killing bandits,” actually depicts her as a beautified pirate—what the game calls a “heroic thief”—and ultimately a Japanese pirates (Wokou). After becoming a Wokou, she causes chaos in Sichuan, slaughtering peasant rebel officers and soldiers, acting as a bloody executioner suppressing Zhang Xianzhong’s peasant uprising, and becomes a loyal servant of the Manchu and Han landlord classes. She fully embodies the anti-revolutionary desire of the Ming landlord class to suppress peasant uprisings and establish the dictatorship of the Manchu aristocracy, representing the national and class oppression of feudal regimes. This landlord figure, with identities as a secret agent, Wokou, and counterrevolutionary executioner, exemplifies how the game and its creator are using reactionary forces to summon the spirits of the landlord class, promoting fascist ideas that justify anti-China, anti-people, and counterrevolutionary slaughter.
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