Silk (virtual) Routes
In the 14th century a Venetian merchant, Marco Polo, undertook a caravan trip across the Mongolian Empire. His adventures have been read for centuries following and other adventurers, who were inspired by his descriptions of Asian prosperity, explored the region themselves. Both before and after Polo’s travels, caravans have covered the Silk Road connecting the Middle East with Europe, and people around the world are still retracing this route as their forefathers did in the past - albeit using different tools: in today’s digital age, backpacks, moleskin and sleeping bags are considered archeological finds, with modern technology providing a different means of discovery.

Nowadays, it is enough having the right URL to discover sounds, colours and tastes of mainland China. Accessing chinasmack.com, virtual tourists will have the opportunity to taste Hangzhou’s delicacies such as fried insects, scorpions and spiders, or attend the preparation of “goodwill hostesses” in Guangzhou, who have begun their military training in order to prepare for the opening and closing ceremonies of the multi-sport event - Asiad. Tourists can also go back to the past, visiting the Forbidden City (beyondspaceandtime.org) or go sightseeing across Qianmen street in Beijing, meeting tour guides, storytellers and enjoying the trip on streetcars (qianmenyou.com).
Nevertheless the “destination is never a place, but a new way of seeing things (H. Miller)” and it might be interesting exploring the Sino-culture digitally: observing the differences in designing websites for Chinese users, where cultural elements are manifested in many ways; from the big family photos used as background for the launch of a new sedan model, to Taobao.com’ s choice of using orange as its main colour, which according to the Feng Shui represents the Yang associated with fire, the sun, and therefore masculinity. In fact, beyond content itself, we are already seeing how web architects are using the Internet to create design and functionality based on a user experience inherently effected and influenced by culture. Chinese netizens use the Internet differently because of their cultural upbringing, experiences, values and overall way of life; this is something that Chinese websites have naturally catered to; yet as the Internet develops, specialists in User Experience are busily analyzing Internet architecture and local user behvaiour, attempting to design new, innovative ways to use the web: the end goal being to ironically synthesize intuitive web browsing for a local Chinese market.
All the Chinese values detected by the famous sociologist, Hofstede, long term orientation, collectivism, masculinity and high power distance are mirrored in images, colours and fonts accurately selected by web designers and marketers to attract the attention of visitors and to improve the web experience. Smashingmagazine.com has interviewed well-known Sino-designers (Yu Guo, Whitecrow Zhu, Junchen Wu, Lytous Zhou, Johon Woo and Rex Song) to understand better the current trends in web designing. Cultural elements, user-experience, rationality and visual design have to all be considered in order to perceive and comprehend the present and future development of the industry. Today’s industry is already highly complex, with digital savvy designers building a web of digital media interactions - a world of full of images and text interfaces -, developing Flash animations, focusing on entertainment, and respecting the meaning of colour and other traditional aesthetics.
Even if in the past Chinese designers adopted (or copied) the same web design styles of neighbouring countries, and now they are still found lacking in information architecture because of limited research and development budgets, they are improving in terms of techniques and knowledge (Junchen Wu and Rex Song-Samshingmagazine). They are able to develop “play-ish, SNS-ish and visually attractive” websites that meet Chinese users’ preferences and allow “foreigner-netizens” to discover a little more about Chinese culture, both past and present.
Chinese Attraction goes Digital
October 18th marked the 150th anniversary of the destruction of the Old Summer Palace by British and French armies. Known in China as the Gardens of Perfect Brightness and more traditionally as Yuangmingyuan; the complex of palaces and gardens located in northwest Beijing was a resort for the imperial families of the Qing Dynasty (1644 – 1911). For the past sixteen months researchers have worked on the ‘Digital Yuanmingyuan Project’, aiming to rebuild the ancient imperial park with the use of virtual technology by digitalising historical material. Digital Yuanmingyuan is based on an open platform that has utilised the latest advances in opto-electrical and sound technologies to engage viewers.

Located just outside the west gate of Yuanmingyuan is Tsinghua University and this is where, for over a year, a research team of architects and engineers have attempted to create the virtual reconstruction of the site using powerful 3D graphic technology. These enhancements in technology will enable visitors to see what the Old Summer Palace, or Yuanmingyuan looked like before it fell into neglect and decay. The aim was to create 146 computer generated images and twenty two short videos, online, in time for the anniversary. This reflects one-fifth of the teams planned palace coverage, with more intended in the future years incorporating further photographs and information gathered overseas by scholars and researchers.
Through referring to historical records, original drawings and archaeological findings, the team working on the project were able to establish exactly what every small part of the building looked like. Information of this kind was then fed through specialized computers, generating the results - highly accurate 3D images of the historic building. The program employed is known as ‘CityMaker’ and was developed by the company Gvitech who typically use it for urban planning. Nonetheless this project saw it being used for the first time on an ancient architectural complex, with results showing great detail and being reported as 95 percent faithful to the original; CityMaker did not fail to impress in terms of delivery on this diverse assignment.
The Old Summer Palace has been opened to the world for centuries, but with the completion of the Digital Yuanmingyuan Project coming close, China hopes that people across the globe will become more aware of China’s national attractions. China hopes that the advertisement digitally of such a popular and prominent tourist attraction will catalyse and convert into real tourist visits to the site in Beijing.
This project has been one of a number of initiatives announced to increase tourist numbers flocking to China. Just this week a new policy was passed allowing overseas tourists in a group to get visas upon arrival in East China’s Zhejiang province; this will greatly boost local tourism. If the Digital Old Summer Palace reaps success, the next Digital Project of another famous Chinese attraction is likely to be close behind.
By Amanda Woby
Digitally in Love: From Animation to Simulation
Part 1 – Out of the Inkwell
Our guest writer, Joe Barber, explores the anime and gaming industry in China, following its US-inspired birth and continued growth, riding along the tailcoats of Japan’s interactive digital generation. This is the 1st of a 3 part series in which Joe ultimately asks:
Will China continue to mimic online Japan?

I remember my first girlfriend and it was with her that I had my first real kiss. It was back in October 1998, in between the girl’s boarding house and the canteen, of St Georges School in the UK; it was less than a month into my first year of secondary school. I never really found it hard to meet and talk to girls, in fact the challenge spurned me on to be the self-proclaimed ‘womaniser’ that I am today.
Nonetheless I had fellow boarding friends, who found the whole interaction with the opposite sex, a rather daunting challenge. A few of them (years later) came out as homosexuals, others were simply shy and took a few years to ‘come out of their shells’ and still others have arguably remained ‘there’, turning to interactive and gaming alternatives to fulfil their desires.
One commonly known game is the Sims; gamers are enabled to act out through an alter ego in a strategic life-simulation computer game. The Sims was first released on February 4, 2000 and by March 2002, had sold more than 6.3 million copies worldwide, making it the best-selling PC game in history shipping 16 million copies worldwide by 2005.
How did this begin? Much of the modern gaming we see today has its roots in modern cartoon and animation. Early videogames, such as Castlevania for example, have been identified as true milestones, bridging animation and interaction to unleash the true potential of this marriage of media. The next step for gaming worldwide has been an aspiration to create truly real simulation.
China has shown the same trend, following animation into interaction; however, its path is slightly different to the West, with the Cultural Revolution and Japan’s booming anime scene creating a different picture for both fans of animation and gaming in China…
Chinese animation is thought to have begun in 1918 when ‘Out of the Inkwell’ a US piece arrived in Shanghai. In 1929, the Wan Brothers launched the animation industry in China with the first film with sound ‘The Camel's Dance’ and the most notable length film ‘Princess Iron Fan’; at that point, China was seen to be on a global par concerning anime.

The ‘golden age of animation’ was brought to an end in the Cultural Revolution lead by Mao Zedong, head of the Chinese Communist Party. China has approximately 370 million children, which constitutes one of the world’s largest animation market groups. In today’s market 11% of Chinese anime users are under the age of 13; approximately 59% are between the ages of 14 to 17 and the remaining 30% are over the age of 18. This niche has catered to over 500 million people in China alone.
Quatech Market Research analyzed anime users in Shanghai and Guangzhou, aged between the ages of 14 and 30, finding that over 1.3 billion RMB is spent on cartoons per annum; more than 80% of the revenue flows straight out of the country. Further studies show that 60% rather Japanese anime and the remaining 29% prefer that of the US, leaving a mere 11% favouring home-grown animation. China’s anime heart clearly lies in the pursuits of one of Japan’s most famous exports.
Next: Part 2 exploring Government Censorship and Japan's vast catalogue of Manga-inspired digital simulation.

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