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Chapter 1 Introduction 1.1 Research background As the wave of digitalization sweeps across the world, the digital cultural industry has become the core position for promoting China's excellent traditional culture and promoting the creative transformation and innovative development of culture. With the continuous iterative upgrading of new media technology, game engine technology, and three-dimensional modeling technology, traditional forms of cultural communication have gradually broken through the limitations of one-way output such as books, exhibition halls, and film and television, and turned to new forms of immersive, interactive, and experiential digital communication. Among them, video games are the most accepted and participatory digital media among the public in the new era, especially the youth group. With their strong immersive experience, in-depth content transformation capabilities and cross-circle and cross-border communication advantages, video games have gradually grown into an efficient digital carrier that carries, disseminates and activates Chinese traditional culture, and has become an important breakthrough in the modern dissemination of traditional culture. In recent years, national-style games that rely on China's excellent traditional culture for content creation have gotten rid of the development dilemma of niche circles and have formed a popular game segment with a complete system, a wide audience, and a stable market. It has become the core direction for the transformation and upgrading of the domestic game industry, getting rid of homogenization and involution, and establishing local cultural brands. Judging from market performance, a number of Chinese-style games have not only achieved high market revenue with their unique oriental aesthetics and traditional cultural core, but also gained recognition from players and the industry, pushing Chinese-style games from "traffic gimmicks" to "cultural needs". Against the background of the rapid popularity of Chinese-style games in the industry, ordinary users' recognition and acceptance of Chinese-style visual elements have greatly increased, and the public's aesthetic awareness of Chinese-style games has initially taken shape. The Chinese style game industry report released by Tencent Research Institute clearly points out that the superficial Chinese style elements such as traditional patterns, classical costumes, ancient scenes, and traditional colors used in current domestic mainstream Chinese style game products can be intuitively recognized and perceived by the majority of users, and the Chinese style visual system has been deeply integrated into the creation system of domestic games. However, judging from the current development status of the industry, there are still significant "superficial" and "formalization" problems in the current cultural integration of national style games, and the development of the industry has fallen into the bottleneck of "dispersion of image and spirit". Many scholars have put forward critical views on the current status of the creation of Chinese-style games, believing that the "expression of Chinese-style" in most Chinese-style games at this stage only remains at the level of visual representation, and has not achieved a deep integration of traditional culture and game content. Most products simply use traditional Chinese visual elements as packaging shells. At the core core levels such as core gameplay logic, game architecture system, content narrative model, and character growth mechanism, they still fully follow the creative templates and operating models of mature games in Europe, America, Japan, and South Korea, and have not built an original game system that adapts to the core of Chinese traditional culture and fits the logic of Eastern aesthetics. [1] Specifically, the traditional cultural application scenarios of most Chinese-style games currently on the market are extremely limited, focusing only on external dimensions such as graphic visual design, scene decoration, and character appearance packaging. The ancient buildings, ancient artifacts, and traditional patterns in the game scenes are only used as static decorative backgrounds, and the traditional patterns and ancient accessories on the character costumes are only used as visual embellishments, lacking in-depth exploration and transformation of traditional cultural connotations, spiritual core, and historical logic. However, core modules such as game play, operation logic, numerical system, combat mechanism, and plot structure are still highly homogeneous with European and American fantasy, Japanese and Korean two-dimensional game systems, and do not reflect the unique thinking logic and cultural characteristics of traditional Chinese culture. This creative model of "Chinese on the outside and Western on the inside" has caused Chinese-style games to fall into the development dilemma of "having the shape of Chinese style but not the soul of Chinese style". It not only makes it difficult to truly spread traditional culture, but also limits the differentiated development and cultural branding of domestic games. At the same time, academia and industry have gradually realized the cultural communication and educational value of Chinese-style games, and have begun to focus on the intrinsic relationship between Chinese-style games, two-dimensional culture and the cultivation of contemporary youth culture. As the core audience of online games, the youth group is also the core subject of the inheritance and development of traditional culture. The construction of its cultural cognition, cultural aesthetics and cultural confidence is deeply affected by digital cultural products. Compared with traditional boring book preaching, exhibition hall viewing and other cultural communication methods, national style games take fun, interactivity and immersion as their core advantages, allowing young people to get close contact with, perceive and understand the excellent traditional Chinese culture in a relaxed entertainment experience, and subtly accumulate traditional aesthetic cognition, historical knowledge and humanistic heritage. In the long run, high-quality national style game content can effectively bring the youth group closer to traditional culture, eliminate the alienation and strangeness of contemporary youth from traditional culture, help the youth group build a cultural cognitive system, enhance the sense of national belonging, cultural identity and cultural confidence in the new era, and reserve youth power for the inheritance and innovation of China's excellent traditional culture. Under the industry demand for the upgrading of national style games and the deep integration of culture, anthropomorphic design has become a key design method for the concrete, interesting and personalized communication of traditional culture, providing a new path for the transformation of traditional architectural culture into games. Anthropomorphic design is an important design method that integrates modern design, communication and aesthetics. Specifically, it refers to transforming inanimate and thoughtless objective objects into image subjects with personality traits by giving non-human objects such as animals, plants, artifacts, buildings, and natural landscapes multi-dimensional human characteristics such as physiology, psychology, personality, emotion, and behavior, thereby shortening the psychological distance between the audience and the design object, improving the audience's favorability, memory, and cognitive depth, and ultimately achieving the design goal of disseminating the value of the design object and empowering the content. [2] Conventional anthropomorphic design follows the core principle of "preserving the original characteristics and endowing human characteristics". On the basis of completely retaining the original form, attributes and core characteristics of the design object, it integrates human appearance, behavior, habits, personality, emotions and other characteristics to achieve the personalized reshaping of the object. The anthropomorphic design in two-dimensional anthropomorphic games is a special design form evolved based on traditional anthropomorphic theory and combined with two-dimensional aesthetics, game narrative, and character shaping needs, and is more creative and adaptable. The two-dimensional anthropomorphic design is not a simple reproduction of the human appearance, but a deep refining of the core attributes, morphological characteristics, cultural connotations and functional characteristics of the original object, transforming it into a humanoid image that fits the two-dimensional aesthetics and adapts to the game scene. Through the character's appearance, clothing, temperament, skills, personality, plot and other dimensions, it indirectly or directly restores the core characteristics of the original object. Compared with conventional anthropomorphic design, two-dimensional game anthropomorphism pays more attention to trait empowerment and cultural translation. It can fully integrate abstract cultural connotations, concrete object characteristics, and unique functional attributes into the character system, transforming cold objective objects into game characters with warmth, stories, connotations, and characteristics. It provides an excellent design carrier and creative idea for the gamification of traditional architectural culture. 1.2 Research purpose With the continuous development of the digital culture industry, game characters have become the core carrier and important communication symbol of traditional cultural communication in the digital era. Compared with communication carriers such as game scenes, game sound effects, and copywriting plots, concrete, personified, and personalized game characters are easier for players to perceive, remember, and spread. They have stronger cultural empowerment and cultural communication capabilities, and are the core breakthrough for realizing the gamification activation of traditional culture. At present, the cultural integration of domestic Chinese-style games mostly remains at the shallow decorative level. Cultural elements such as traditional architecture, traditional patterns, and classical aesthetics are mostly only used as external "decorative coats" such as background paving, scene decoration, clothing patterns, etc. Of the game. Culture and games are in a state of "two skins" separation, and deep integration and organic unity have not been achieved. This shallow cultural application method not only wastes the profound historical, aesthetic and humanistic value of traditional Chinese architectural culture, but also leads to serious homogenization of national style games, lack of cultural core, and insufficient core competitiveness, making it difficult to form a unique oriental game aesthetic system. Based on the current development pain points of the Chinese style game industry and the realistic needs of cultural communication, this study abandons the creative thinking of "elements stacking and surface application" of traditional Chinese style games, and no longer treats traditional architectural culture as simple visual decoration and background embellishment. Instead, it aims to systematically explore the deep integration path and systematic design method of Chinese traditional architectural culture and two-dimensional game character design. By deeply refining the structural aesthetics, spatial logic, humanistic connotation, historical heritage and functional wisdom of traditional Chinese architecture, and combining it with modern two-dimensional design aesthetics and game creation logic, a creative combination of the essence of traditional culture and modern game design is achieved. On the basis of fully retaining the core attributes of fun, entertainment, and interactivity of the game itself, this study breaks the integration barriers between traditional culture and modern games, enriches the cultural core and aesthetic level of Chinese-style games, creates an immersive game experience for players that combines visual beauty, interactive fun, and cultural heritage, and promotes the transformation and upgrading of Chinese-style games from "visual Chinese style" to "cultural Chinese style." [3] This research focuses on the innovative integration model of "culture + two-dimensional". It is different from the simple element application design on the market. The core is to achieve an all-round, in-depth and systematic translation of traditional architectural culture. [4] Disassemble and reconstruct the single visual elements of traditional buildings, deeply explore the structural characteristics, spatial layout, construction techniques, aesthetic laws, humanistic implications, historical stories and practical functions of the building itself, and creatively transform them into the appearance, clothing style, temperament, spiritual core, identity background, plot clues and exclusive skill system of the two-dimensional game characters. Through multi-dimensional cultural translation and design integration, the game characters can get rid of the empty two-dimensional aesthetic template and endow the characters with profound oriental cultural heritage and unique architectural aesthetic characteristics. This not only enriches the character level and story connotation of the game characters, but also relies on the character carrier to concretely spread traditional architectural culture. It injects the unique Chinese oriental aesthetic characteristics and cultural recognition into domestic two-dimensional games, breaks the two-dimensional aesthetic monopoly of Japan and South Korea, and builds a localized two-dimensional game design system. In order to achieve the above core research goals and effectively solve the industry problem of shallow and homogeneous integration of Chinese style game culture, this study builds an integration path of traditional architectural culture and game character design from the three core dimensions of architectural aesthetics, humanistic connotation, and practical function, forming a three-dimensional integrated systematic design system. The specific research and exploration directions are as follows: First, the transformation of character appearance design based on traditional architectural structural aesthetics. After thousands of years of development and accumulation, traditional Chinese architecture has formed its own unique structural logic, spatial proportions, modeling rules and construction aesthetics. The symmetry and regularity of palace buildings, the twists and turns of garden buildings, the sporadic lightness of pavilions and the simplicity of residential buildings all contain the unique aesthetic order and spatial wisdom of the Chinese style. This research aims to explore the transformation path of traditional architectural structural logic into character appearance design, and transform the core aesthetic characteristics of traditional buildings such as overall proportion, symmetrical layout, hierarchical structure, modeling outline, and component details into appearance design dimensions such as body proportions, body posture, body language, hairstyle, clothing, and accessories styling of game characters. Let the two-dimensional characters get rid of the stereotyped template shapes, combine the stability, harmony, regularity and beauty of traditional architecture with the smart beauty of two-dimensional design, realize the organic unity of Chinese structural aesthetics and modern two-dimensional modeling, and create a character visual system with unique oriental architectural aesthetics. Second, the creation of character and personality based on traditional architectural artistic connotations. Traditional Chinese architecture is not only a simple residential and practical structure, but also a material carrier of humanistic spirit, folk culture, and philosophical thoughts. Different types of traditional buildings carry completely different spiritual conceptions and cultural connotations. The solemnity and magnificence of the royal palace, the solemnity and tranquility of the religious temples, the elegance and elegance of the gardens in the south of the Yangtze River, the simplicity and simplicity of the northern folk houses, and the vastness and distance of the famous buildings all have their own unique cultural temperament and spiritual core. This research deeply explores the humanistic implications, spiritual conception, cultural attributes and historical heritage behind different traditional buildings, and concretely transforms them into the character traits, temperament, identity positioning, life history and plot story clues of the game characters. Through the personification of cultural artistic conception, game characters are no longer mere visual images, but personified carriers with unique temperaments, three-dimensional personalities, and complete stories. During the game experience, players can perceive the humanistic artistic conception of traditional architecture and achieve two-way emotional resonance with traditional culture and game characters. Third, innovation in game skills and gameplay based on the practical wisdom of traditional architecture. The construction design of traditional Chinese architecture contains the ultimate practical wisdom and survival philosophy of the ancients. The offensive and defensive design of defensive buildings, the drainage principle of water conservancy buildings, the spatial landscaping of garden buildings, and the climbing and viewing functions of pavilions, etc., All have unique functional value and design logic. This research breaks through the single dimension of traditional "visual fusion" and transforms the practical functions, creative wisdom, and structural characteristics of traditional buildings into the exclusive skills, passive attributes, interaction methods, and team play systems of game characters. Let the integration of traditional culture no longer be limited to the visual level of "static viewing", but be integrated into the core game operation and interactive experience of players, realizing the immersive communication of traditional culture that is "visible, playable, perceptible, and understandable", and truly breaking through the integration barriers between cultural core and game play. In summary, this study aims to summarize a scientific, feasible, and reusable design method and integration system for the anthropomorphic design of two-dimensional characters in traditional architectural culture through an all-round exploration of the three dimensions of appearance, personality, and gameplay. Promote the upgrade of domestic game character design from "shallow element borrowing" to "deep cultural internalization", realize the creative transformation and innovative development of traditional Chinese architectural culture, help domestic two-dimensional games get rid of homogeneity and involution, create high-quality game character images that combine national cultural characteristics, oriental aesthetic temperament and international aesthetic adaptability, and provide new ideas and practical references for the high-quality development of the domestic digital culture industry and the younger dissemination of traditional culture. 1.3 Research methods In order to ensure the scientificity, rigor, systematicness and practicality of this research, and to avoid the problems of one-sided research, weak theory, and disconnected practice caused by a single research method, so that the research results have solid theoretical support and academic value, and can be applied in actual game design and creation, this research comprehensively adopted three core research methods: literature research method, case analysis method, and virtual field survey method. The three methods are progressive and complementary to each other, forming a complete research closed loop from theoretical sorting, case support, material accumulation to method summary, which comprehensively ensures that the research process is standardized, the research logic is rigorous, and the research conclusions are reliable, and effectively completes the integration research of traditional architectural culture and the anthropomorphic design of two-dimensional game characters. The literature research method is the basic supporting method of this study. It runs through the entire research process and is mainly used to sort out and integrate the basic theories, core viewpoints, research results and industry norms in the three core fields of traditional architectural culture, anthropomorphic design, and game character design, to build the theoretical framework system of this study. In the early stage of the research, the author will systematically sort through monographs, journal articles, academic reports and other literature in related fields such as the history of Chinese traditional architecture, Chinese classical architectural aesthetics, traditional architectural construction techniques, architectural cultural semiotics, traditional humanistic aesthetics and other related fields. Focus on analyzing the visual aesthetic characteristics of traditional Chinese architecture such as color system, layout rules, structural logic, component details, decorative patterns, proportions and scales, and deeply explore the folk culture, philosophical thoughts, humanistic implications and spiritual core behind various architectural shapes, decorative symbols, and spatial layouts, clarify the core aesthetic value and cultural connotation of traditional architectural culture, and provide solid cultural theoretical support for subsequent design transformation. At the same time, the author will systematically sort out the theories related to anthropomorphic design in the fields of design, aesthetics, and communication, and sort out the creative logic, design principles, transformation methods and aesthetic rules of different types of anthropomorphic designs such as animal and plant anthropomorphism, artifact anthropomorphism, landscape anthropomorphism, and architectural anthropomorphism. The author will focus on studying the underlying logic of personification, concreteness, and aesthetic design of inanimate objects, clarify the core path and design criteria for transforming static and functional objects such as buildings into dynamic and personified game characters, and fill the theoretical gap in the design of anthropomorphic characters in architecture. In addition, this research will integrate the core theories in the field of game design, in-depth study of two-dimensional character creation, game narrative design, character design, player flow experience creation, game aesthetic design and other related knowledge, master the creative logic, aesthetic trends and player needs of modern two-dimensional games, and clarify the entry point and adaptation method of culturally empowered game character design. By sorting out, comparing, integrating and innovating the literature in the three major fields, an interdisciplinary theoretical system connecting traditional architectural culture, anthropomorphic design theory and two-dimensional game character design is established, providing reliable academic basis and theoretical support for subsequent case analysis, design practice and method summary. The case analysis method is the core research method of this study. It is mainly used to combine mature industry practices to verify theoretical feasibility, summarize implementation design methods, avoid industry creation misunderstandings, and make research results more valuable for practical guidance. In order to ensure the comprehensiveness, pertinence and representativeness of the case analysis, this study built two special case databases, namely the integration of traditional architectural culture into game design case database and the two-dimensional anthropomorphic game character design case database. The case selection strictly follows the four principles of high quality, typicality, innovation and popularity, covering benchmark game works that have been online for many years at home and abroad, have good market reputation, have a large number of users, and have unique cultural integration. At the same time, some ordinary works with cultural integration defects and design homogeneity issues are taken into consideration to achieve comparison of advantages and disadvantages and analysis of pros and cons. In the specific analysis process, this study will use a unified analysis framework to conduct in-depth dismantling from six dimensions: character visual design, character creation, cultural connotation expression, gameplay skill adaptation, narrative logic construction, and player experience feedback. Focus on exploring how traditional cultural elements are transformed into character visual symbols in benchmark cases, how to reflect character traits through appearance design, how to rely on character carriers to convey the core of traditional culture, how to achieve deep binding of cultural connotation and game play, and summarize the innovative design strategies and implementation effects of outstanding works. At the same time, we conduct a targeted analysis of the problems existing in some Chinese-style games such as cultural superficial application, empty characters, disjointed gameplay, and aesthetic homogeneity, and sort out the common misunderstandings and shortcomings of cultural integration in the current industry. Through comparative analysis and summary of multiple cases, the general methods, core rules, innovation paths and pitfall avoidance guidelines for traditional architectural culture anthropomorphic character design were extracted, providing a real and implementable industry reference for the design practice of this study. The virtual field survey method is the core material support method of this study. It is mainly used to solve the pain points of traditional field surveys that are limited by objective conditions such as time, region, cost, and transportation. It obtains real data, visual materials, and humanistic materials of traditional buildings in an all-round and high-precision manner to ensure the rigor and authenticity of design transformation. This study takes the classic traditional pavilion buildings such as the Eight Famous Buildings in China as the core research object. This type of building has extremely high architectural aesthetic value, profound historical and cultural heritage, distinctive shape characteristics and rich cultural stories. It is a typical representative of traditional architectural culture and adapts to the innovative design needs of two-dimensional anthropomorphic characters. 1.4 Research status at home and abroad Two-dimensional anthropomorphic design originated in Japan. After decades of development, Japan has formed a mature and complete anthropomorphic creation system, industrial model and academic research system. It is the birthplace and leader of global two-dimensional anthropomorphic culture. The development of anthropomorphic culture in Japan started in the early 21st century. In 2003, the comic book "Binchotan" created by cartoonist Ekusa Tenjin was recognized by the industry as the ancestor of modern two-dimensional anthropomorphic works. It officially kicked off the craze of anthropomorphic creation of all things in Japan and had a profound impact on the subsequent creation and development of anthropomorphic games, animations, and cultural and creative products around the world. "Binchotan" uses the Binchotan charcoal used daily by people in the Kii Peninsula, Wakayama, and Shirahama areas during the Genroku period of the Edo period in Japan as the anthropomorphic prototype. It breaks the limitations of traditional anthropomorphic creations that focus on animals, plants, characters, and mythological images. For the first time, inanimate daily utensils are used as the core anthropomorphic objects. Through extreme creative design, the author shaped the dark, hard and unpretentious Binchotan charcoal into the image of a girl with a soft appearance, tough character, gentleness and kindness. With a fresh and healing painting style, the author tells the daily story of the charcoal girls who depend on each other in the mountains, live hard, and heal themselves gently. The overall style is healing and warm, and quickly gained the love of a large number of audiences. At the level of character design, "Binchotan" strictly follows the core principle of "personalized translation of ontological characteristics" and achieves a high degree of binding between object prototypes and anthropomorphic images. The character image only uses a small piece of black charcoal on the head as the visual identity. The overall appearance is fresh and smart, but all its behavioral settings, character traits, and plot clues are deeply consistent with the practical attributes and functional characteristics of binchotan. Binchotan charcoal has practical value for purifying water, cooking food, adsorbing odors, and preventing moisture and dehumidification. The daily activities and abilities of the protagonist in the work are completely centered around this core quality. Through the life-like plot, the relationship between the character and the "charcoal" body is continuously strengthened, so that the audience can clearly understand the practical functions and utensil characteristics of binchotan charcoal while appreciating the anime story and loving the character image. This anthropomorphic design idea of ​​"dispersing form and gathering spirit" breaks through the limitations of superficial visual reproduction and achieves a deep integration of object connotation, functional characteristics, and personality settings, providing a core creative paradigm for subsequent anthropomorphic creations of all things. With its ultimate creativity and warm content expression, "Binchotan" successfully won the 2004 "Japan OTAKU Award". It has subsequently completed animation and game adaptations. The vitality of the IP continues to this day, becoming a classic benchmark work of Japanese anthropomorphic culture. Around 2000, Japan's two-dimensional cultural industry entered a peak stage of rapid development. Animation, games, cultural and creative and other fields developed collaboratively. The mature industrial system, huge audience market, and complete creative talent reserve provided excellent industry soil for the explosive growth of anthropomorphic themes. After entering the 21st century, Japanese anthropomorphic creation has completely broken away from the single category of anthropomorphic everyday objects, showing a development trend of diversified themes, generalized objects, and refined content. Anthropomorphic objects have expanded from traditional animals and plants, and daily objects to various inorganic and virtual objects such as ships, weapons, swords, transportation, geographical landscapes, historical cultural relics, and natural phenomena. The boundaries of creation have been infinitely broadened. Among them, the popularity of two game works, "Kantai Collection" and "Touken Ranbu -ONLINE-", marks that Japan's anthropomorphic game industry has entered a mature stage of development, and also provides a classic paradigm for the creation of global anthropomorphic games. "Kantai Collection" uses World War II warships as the anthropomorphic prototype, and transforms the ship's model characteristics, combat attributes, and historical achievements into the appearance, clothing, personality, and combat skills of the girl character; "Touken Ranbu -ONLINE-" uses famous Japanese swords as the prototype, and combines the sword's forging history, shape characteristics, and popular stories to create anthropomorphic sword male characters with different styles and full personalities. Both works are deeply in line with the core characteristics of the original prototype, achieving a deep integration of object characteristics, historical connotations, game characters, and gameplay mechanisms. With their unique creativity, full characters, and high-quality plot content, they have become popular around the world and have become phenomenal anthropomorphic game works. Driven by benchmark works, the number of Japanese anthropomorphic games has grown rapidly, and their themes have become increasingly rich, forming a creative trend in which everything can be anthropomorphic, and building a unique anthropomorphic creation system and cultural characteristics of the Japanese game industry. This creative trend has also been quickly introduced to China, and has been widely accepted and loved by young domestic players. Driven by the influence of Japanese anthropomorphic culture and the rise of the domestic two-dimensional market, domestic game manufacturers have begun to focus on the anthropomorphic game track and start the development and creation of localized anthropomorphic games. At present, high-quality original IPs are scarce in the domestic game market, homogenization competition is fierce, and the traditional fairy tale, fantasy, and competitive game tracks are seriously involved. The anthropomorphic creation model can transform various familiar objects into brand-new game IPs. It has the core advantages of low creative threshold, accurate audience, strong IP scalability, and significant differentiation. It has become a core shortcut for domestic manufacturers to create new original IPs, seize the two-dimensional market, and attract young users. Various artifacts, cultural symbols, and natural objects that are well-known to the public can be quickly formed into new IPs with unique recognition after personification. Relying on the inherent cognition of the public to reduce users' understanding costs and acceptance thresholds, it can quickly achieve traffic conversion and fan accumulation. In recent years, anthropomorphic games have become a core category for domestic game manufacturers to deeply explore the two-dimensional track, attract young users, and create differentiated advantages. Domestic leading game manufacturers such as Xishanju, Kongkong. Com, Digital Sky, NetEase, and Perfect World have all made in-depth arrangements in the field of anthropomorphic games and launched a variety of anthropomorphic game products with different themes, promoting the rapid development of the domestic anthropomorphic game industry. The creative themes of early domestic anthropomorphic mobile games were highly concentrated in the XX field, forming a large-scale XX anthropomorphic creation trend. The emergence of this phenomenon is partly due to the popularity of Japanese models The direct influence of the ship anthropomorphic web game "Kantai Collection", which quickly detonated the domestic two-dimensional market after its launch in 2013, allowed domestic manufacturers to see the market potential of xx anthropomorphic themes; on the other hand, xx themes themselves have natural anthropomorphic adaptation advantages, and various weapons and equipment It has clear model characteristics, unique appearance, rich historical achievements and clear combat attributes, which can be quickly transformed into the appearance, personality traits and combat skills of the game character. At the same time, the weapons and equipment are highly consistent with the game's combat gameplay, without the need for complex gameplay adaptation, and the difficulty of landing is extremely low. Feng Yun, the head of domestic distribution of Digital Sky, has made it clear that the core key to the success of anthropomorphic mobile games lies in two major dimensions. One is the attractiveness of the character's personality, whether it can trigger users' desire to collect and explore with its unique appearance and full personality; the other is the adaptation of combat gameplay. Sex, whether it can create a smooth, interesting and personalized combat system, and the XX theme has natural advantages in these two core dimensions. The rich historical stories of weapons can provide sufficient material for character creation, and the combat attributes of weapons can directly adapt to the game's combat gameplay. Under the craze of xx anthropomorphic creation, a large number of similar game products have emerged in China. Ship anthropomorphic themes include "Battleship Girls R", "Girls' Fleet", "Steel Maiden", "Azure Maiden", "Azur Lane", "Ship Princess" and many other popular works; tank anthropomorphic themes include "Steel Beyond", "Steel Waltz", "Armored Girl" and "Chariot" Special products such as "Girls"; fighter anthropomorphic works include "Thunder Warrior", "Sky Front", "Ashe Warrior" and other works; in addition, the field of gun anthropomorphism has produced the hit work "Girls Frontline", which has become a benchmark for domestic xx anthropomorphic games. Early domestic anthropomorphic games were dominated by xx girl personifications, with highly homogeneous styles and relatively single themes. However, they also successfully cultivated the user market for domestic anthropomorphic games and accumulated rich experience in anthropomorphic character design and game operation, laying a market and industry foundation for the subsequent development of diversified anthropomorphic themes. With the continuous improvement of domestic anthropomorphic creation capabilities and the upgrading of users' aesthetic needs, a single xx anthropomorphic theme can no longer meet market demand. Domestic anthropomorphic games have gradually moved away from imitating the themes of Japanese works and begun to transform in the direction of localization, diversification, and culture. The boundaries of themes continue to expand and cultural attributes continue to strengthen. Inspired by the sword anthropomorphism of "Touken Ranbu -ONLINE-", domestic manufacturers took the lead in creating local sword anthropomorphism, launching "Yumema Shu", "Sword Contract" and other national-style sword anthropomorphic games, relying on traditional Chinese sword culture and martial arts culture to shape characters and achieve initial localized innovations in anthropomorphic themes. Subsequently, domestic anthropomorphic game themes continued to enrich, gradually covering all natural things and local cultural carriers, forming a pattern of parallel development of multiple themes. In the field of animal anthropomorphism, "Noah's Fantasy" was born, combining the characteristics of various animals with two-dimensional girl characters; in the field of food anthropomorphism, popular works such as "Dimension of Cooking", "Food Contract" and "Food Language" were launched, relying on traditional Chinese food culture and food allusions to create characters that are both interesting and cultural; in the field of cultural relics anthropomorphism, "Wu Hua Mi Xin" is a breakthrough Using national cultural relics as anthropomorphic prototypes, we deeply explore the historical background, craftsmanship characteristics, and cultural value of the cultural relics, and create anthropomorphic characters that combine national aesthetics and cultural heritage. This achieves a deep binding of anthropomorphic games and traditional Chinese culture. It marks that domestic anthropomorphic games have completely broken away from the Japanese creative template and formed a creative system with Chinese local cultural characteristics. Based on the current domestic and foreign research and industry status, it can be seen that the current application scenarios of two-dimensional anthropomorphic design are very wide, and the anthropomorphism of all things has become the mainstream creative trend in the industry. The country has also realized the transformation from copying Japanese themes to deeply cultivating local culture. However, there are still obvious shortcomings in existing research and creation: At present, domestic cultural anthropomorphic games are mostly focused on themes such as food, cultural relics, swords, and sex. Research and practice on systematic anthropomorphic character design for traditional Chinese architecture are extremely scarce, and most cultural anthropomorphic works still have problems such as the application of surface elements, insufficient exploration of cultural connotations, and disconnection between gameplay and culture. Based on this, this study focuses on the two-dimensional anthropomorphic design of traditional architectural culture, fills the research gap in the current field, and provides a new theoretical support and practical path for the cultural cultivation and innovative development of domestic Chinese-style anthropomorphic games. Chapter 2 Overview of Traditional Chinese Architecture and Anthropomorphic Roles 2.1 Concept and characteristics of traditional Chinese architecture Traditional Chinese architecture is one of the most representative material carriers of China's excellent traditional culture. It is the general term for the architectural construction system and architectural culture that the Chinese nation has gradually accumulated, evolved, matured and become self-contained in the course of thousands of years of historical development, relying on the unique natural geographical environment, farming civilization system, social ethics system and traditional philosophical thoughts. From a broad perspective, traditional Chinese architecture is not a single architectural form or architectural style, but a collection of all architectural types and construction techniques that were formed in the local context of China from the pre-Qin period to the Ming and Qing dynasties and have unified construction logic and oriental aesthetic characteristics. In a narrow sense, it mainly refers to various types of solid buildings with wooden frames as the core structural system, Chinese spatial aesthetics as the core, and traditional construction techniques as means. It includes not only iconic ritual and landscape buildings such as royal palaces, imperial mausoleums, religious temples, classical gardens, pavilions, and pavilions, but also functional folk buildings such as rural residences, ancestral halls, ancient bridges and towers, and water conservancy defense buildings. Compared with the Western masonry structure building system that emphasizes solid, eternal and realistic architectural concepts, traditional Chinese architecture always adheres to the core idea of ​​"harmony between man and nature" and deeply integrates the laws of nature, humanistic spirit, social order and architectural construction, so that the building not only has the material functions of practical residence, defense, worship and leisure, but also becomes a comprehensive cultural carrier carrying the ancient cosmology, philosophical thoughts, ritual and music system, folk culture and aesthetic taste. In the traditional Chinese cultural system, architecture has never been a simple engineering structure, but a cultural symbol of "an instrument to convey the Tao". The layout, structural system, spatial scale, decorative patterns, color matching, and use of materials of traditional buildings all reflect the hierarchy, ethical order, philosophical cognition, and aesthetic pursuits of ancient society. For example, the axially symmetrical layout of palace buildings corresponds to the Confucian idea of ​​a golden mean, the winding paths of garden buildings echo the Taoist concept of natural seclusion, and the courtyard shape of residential buildings carries the traditional ethics of clan reunion and orderly ordering of elders and younger ones. After thousands of years of inheritance and iteration, Chinese traditional architecture has formed a unique style and complete system that is different from any architectural system in the world. It has strong cultural uniqueness, aesthetic recognition and artistic inclusiveness. It also provides inexhaustible cultural materials and aesthetic inspiration for the innovative creation of contemporary Chinese-style games, two-dimensional design, and digital cultural creation. Combined with the architectural anthropomorphic design needs of this study, this section will systematically sort out the core characteristics of traditional Chinese architecture from the three core dimensions of structural system, spatial artistic conception, and decorative culture, laying a theoretical foundation for subsequent role-based, personified, and gameplay-based translation of architectural elements. First, the flexible structural system with wooden frame as the core is the core and most fundamental technical feature of traditional Chinese architecture, and it is also the core symbol that distinguishes traditional architecture from Western masonry architecture. Relying on the rich local forest resources, combined with the gentle natural environment of the farming civilization, ancient Chinese ancestors created a wooden construction system with the beam-lifting type, the bucket type, and the well-dry type as the core. They abandoned the heavy and solidified masonry structure and formed the structural advantages of "flexible load-bearing, mortise and tenon engagement, and flexible adaptation." Different from the fixed connection method of modern buildings that rely on reinforced concrete and bolt welding, the core of traditional wooden buildings relies on the mortise and tenon structure to complete the overall splicing and force support. Through the design of concave and convex interlocking components, the overall construction without nails, glue, and welding is achieved. The overall structure has extremely strong toughness, earthquake resistance, and stability, which fully demonstrates the ultimate construction wisdom and mechanical thinking of the ancients. The existing remains of classic ancient buildings in my country fully prove the scientific and advanced nature of the traditional wooden structure system. Among them, the Shanxi Yingxian wooden tower is the pinnacle of mortise and tenon structure construction. The full name of the Yingxian Wooden Pagoda is the Sakyamuni Pagoda of Fogong Temple. It was built in the Liao Dynasty. The whole body of the tower is made of pure wood. No iron nails are used in the whole process. It relies entirely on thousands of groups of mortise and tenon components of different sizes and functions to build a giant pavilion-style wooden tower 67 meters high. Over the past millennium, the Yingxian wooden pagoda has experienced dozens of strong earthquakes, violent storms, and war erosion, but it still remains standing and has a stable structure, fully demonstrating the extremely strong seismic performance and structural toughness of the traditional Chinese wooden structure system. This mechanical miracle of "hardness and softness, endless life" is not only a treasure in the history of construction engineering, but also an important source of inspiration for the creation of contemporary Chinese style game culture. In the two-dimensional game design, many works transform the traditional mortise and tenon structure, the toughness of the wooden structure, and the layer-by-layer pavilion structure into the physical characteristics, defense attributes, and skill mechanisms of the characters. The engineering wisdom of traditional architecture is transformed into perceptible, experienceable, and usable gameplay content of the game, allowing ancient construction skills to be reborn in a new digital form. Secondly, the unique spatial connotation of imitating nature and coexisting with scenes is the core aesthetic feature of traditional Chinese architecture and the key to the strong humanistic appeal of traditional architecture. Western architectural aesthetics emphasizes the regular symmetry, geometric order and visual impact of artificial carvings, while traditional Chinese architecture always follows the core philosophy of "harmony between man and nature, Tao follows nature", pursues a high degree of integration of architecture with natural landscapes, and humanistic artistic conception, rejects deliberate artificial stacking and rigid regularity, and forms a diverse spatial artistic conception that is steep, ethereal, subtle and elegant, and where reality and reality coexist. Traditional buildings of different shapes and regions rely on the natural terrain and landscape environment to form completely different spatial temperaments, providing rich aesthetic materials for game scene design, character temperament shaping, and plot artistic conception creation. The steep and ethereal religious mountain architecture built according to the situation is an important representative of the traditional architectural space artistic conception, among which the Hanging Temple in Shanxi is the most representative. The Hanging Temple was first built in the Northern Wei Dynasty. The overall building is based on half flying beams and relies on rocks. It is suspended on the cliffs of Hengshan Mountain, leaning on dangerous rocks above and facing deep valleys below. The overall building stands in the sky and interweaves reality and reality. It not only uses the mountain topography to achieve a stable construction of the building, but also creates a thrilling, ethereal and otherworldly spatial artistic conception. It perfectly interprets the ancient people's creative thinking of "taking advantage of the situation to create a landscape and blending into nature". (As shown in Figure 2.1) This precipitous, quiet, and otherworldly architectural artistic conception can be directly transformed into the cold, aloof, calm, and detached personality of the game character and the visual style of a fairy tale. The Jiangnan classical gardens represent another spatial artistic conception of Chinese architecture that is subtle and graceful, with different scenery as you move, and a combination of hidden and exposed. Different from the grand and regular palace buildings and the precipitous and majestic mountain buildings, Jiangnan gardens rely on the warm and moist natural environment of the Jiangnan water towns. They use the small to see the big and the winding paths to the secluded. Through the landscaping techniques of zigzag cloisters, rockeries and stacked rocks, lingering pools and water, and shades of flowers and trees, they break the limitations of space and achieve the aesthetic effect of "recreating the world within a short distance". The garden space pays attention to the combination of reality and reality, the appropriateness of movement and stillness, and the richness of levels. Every step brings new scenery, and every scenery has artistic conception. It contains the spiritual pursuit of indifference, tranquility, restraint, and leisurely contentment of literati. (As shown in Figure 2.2) This kind of smart, elegant, subtle, and changeable spatial characteristics can provide rich creative inspiration for the body design, action style, personality design, and skill special effects of two-dimensional characters, and adapt to the needs of gentle, smart, delicate, and ever-changing characters. Overall, the spatial artistic conception of traditional Chinese architecture is not a simple visual space, but a comprehensive artistic conception system of "architecture + nature + humanities", which carries the life philosophy and aesthetic pursuit of the ancients. This unique spatial aesthetic provides core support for the game to break away from the inherent aesthetic templates of Western realism and Japanese and Korean two-dimensionality, and create a scene system and character temperament exclusive to Eastern artistic conception. Third, the decorative symbol system with profound meaning and rich system is the core carrier of the narrative of traditional Chinese architectural culture and the most direct and abundant design material for the visual transformation of architectural anthropomorphism. The decorative design of traditional Chinese architecture is by no means a simple beautification, but a cultural symbol system that integrates aesthetics, folk customs, etiquette, mythology, and meaning, from kissing beasts on the roof, painted brackets, carved doors and windows, patterns on beams and columns, to stone carvings, stele carvings, and wall coverings. Patterns, sculptures, and every decorative detail have unique shape specifications and profound cultural implications. They carry the ancients' good expectations for good fortune, peace of family and country, and self-cultivation. They also contain rich historical allusions and mythological narratives. Rich, diverse and profound architectural decorative symbols can be completely transformed into visual design elements for two-dimensional game characters. Architectural auspicious animals can be transformed into character accessories and special effect patterns; the traditional painted color system can be used as the main color of the character; door and window carvings and auspicious cloud patterns can be integrated into clothing textures and jewelry shapes; the architectural etiquette order can correspond to the character's status level and personality position. These concrete visual symbols and abstract cultural meanings provide all-round material support for the transformation of traditional buildings from physical buildings into game character visual systems, spiritual cores, and narrative content. They are indispensable core elements in the anthropomorphic design of traditional buildings. 2.2 Concept and characteristics of anthropomorphized game characters Anthropomorphic design is a comprehensive creative technique that spans design, aesthetics, communication, and psychology. The core logic is to break the cognitive boundaries between humans and non-human images, and use artistic processing to transform inanimate objects, buildings, natural landscapes, abstract concepts, as well as animals, plants, and cultural relics. , Cultural symbols and other non-human objects, endow human beings with appearance, personality, emotions, thinking and cognition, behavioral habits, life experiences and values, transforming the originally static, cold, and emotionless objective objects into subject images with personality traits, emotional temperature and narrative ability. Compared with ordinary realistic design of objects, the core advantage of anthropomorphic design lies in personality empowerment and emotional connection, which can free the audience from rational cognition of objects, establish emotional resonance and identification, and greatly enhance the dissemination, memory and appeal of objects. In the field of digital games, anthropomorphic game character design is the special application and innovative development of anthropomorphic art in the two-dimensional game track. It is also an important design paradigm for contemporary domestic game culture creation. Game anthropomorphic design is no longer limited to pure appearance, but a complete character creation system covering visual modeling, character design, spiritual core, plot narrative, skill gameplay, and emotional interaction. In short, it is to transform a single building, artifact, cultural symbol, natural object, or even an abstract cultural spirit and aesthetic conception into a complete game character with appearance, personality, story, emotion, ability, and growth through a design process of refining, deconstructing, reconstructing, and innovating to achieve deep binding of object characteristics, cultural connotation, and game content. At a time when the two-dimensional game industry is developing rapidly and aesthetic homogeneity is becoming more and more serious, high-quality anthropomorphic characters have become the core competitiveness and core IP carrier of a game. Different from traditional original fictional characters, anthropomorphic characters based on real objects and traditional culture have the unique advantages of prototype support, cultural support, rich stories, and high recognition. Combining the user characteristics, gameplay requirements and communication rules of two-dimensional games, high-quality anthropomorphic game characters generally have three core characteristics: strong emotional substitution, deep cultural carrying capacity, and high interactive extensibility. The three complement each other and together form the evaluation system and creation standards for successful anthropomorphic game characters. First, strong affinity and high emotional involvement are the most basic and core characteristics of anthropomorphic game characters, and they are also the prerequisite for the characters to be accepted and loved by players. Traditional cultural communication carriers, such as physical ancient buildings, cultural relics exhibits, and literature, are all static, passive, and one-way forms of communication. The audience can only watch from a distance and passively receive knowledge. Emotional interaction and psychological resonance cannot occur, and it is easy to create a sense of boredom and alienation. Anthropomorphic characters completely break the limitations of this one-way communication. Through concrete humanoid appearance, agile body movements, unique voice dubbing, vivid personality emotions, and complete dialogue interactions, a three-dimensional and perceptible personality image is constructed. During the game, players can talk, interact, partner, and develop with characters, establish deep emotional links, and transform cold architectural objects into virtual partners who can accompany, empathize, protect, and grow. This sense of emotional substitution cannot be achieved by traditional architectural display, cultural science popularization, and static narrative. It is also the core communication advantage of anthropomorphic design. Taking architectural anthropomorphic characters as an example, players no longer watch ancient buildings through screens or walls, but perceive the temperament of buildings, experience the stories of buildings, and understand the connotations of buildings through the characters, which greatly shortens the psychological distance between contemporary young people and traditional architectural culture. Second, profound cultural heritage and a complete narrative system are the core characteristics that distinguish anthropomorphic game characters from ordinary templated two-dimensional characters, and are also the key to the long-term vitality of the characters. Most of the ordinary two-dimensional characters are created based on commercial aesthetic templates. They have exquisite appearance but empty characters, thin stories and lack of connotation, and are easily eliminated by the market. As for successful cultural anthropomorphic characters, all design dimensions are supported by corresponding cultural prototypes and connotations. The character's appearance, clothing patterns, temperament, character traits, identity background, life experience, skills and moves, and combat special effects are all derived from the characteristics, history and culture of the prototype object. Every design detail can be traced, interpreted, and verified. Take the classic anthropomorphic creative design of the Great Wall as an example. As my country's iconic defensive building, the Great Wall has the core characteristics and spiritual connotation of stretching thousands of miles, being strong and thick, protecting the country and standing for thousands of years. Anthropomorphic characters created based on the prototype of the Great Wall can rely on the solid structural characteristics of the building to create a tough, steady, resolute and reliable character, rely on the defensive function to design exclusive skills for protection, barrier, and counterattack, and rely on the historical background of thousands of years of border guarding to construct a plot story of sticking to the homeland and protecting the people. Compared with empty original characters, the anthropomorphic characters of the Great Wall can fully convey the spirit of "persistence, protection, tenacity, and majesty" of the Great Wall through human design, skills, and plots, allowing players to subtly understand the architectural value and spiritual core of the Great Wall in the process of developing characters and experiencing gameplay, and achieve silent cultural dissemination. It can be seen that anthropomorphic characters are excellent containers and communication carriers for traditional culture, and can transform abstract cultural spirit and concrete architectural characteristics into perceptible game content. Third, a high degree of gameplay interactivity and IP derivative extensibility are important features for anthropomorphic game characters to adapt to the development of the game industry and have commercial and communication value. From the perspective of gameplay, characters are the core carrier of all gameplay in the game. Core gameplay such as plot missions, level exploration, combat competition, team collaboration, and development and upgrades all revolve around characters. Anthropomorphic architectural characters rely on the functional characteristics, structural characteristics, and cultural stories of prototype buildings to create a unique and highly differentiated skill system and gameplay mode, getting rid of the problems of homogeneous skills and templated gameplay in two-dimensional games on the market, and improving the fun and uniqueness of the game. From the perspective of cultural communication and industrial derivation, personified character images have extremely strong communication malleability. Anthropomorphic characters that are three-dimensional and lively, have outstanding looks, likeable personalities, and are full of culture can easily break through the limitations of game carriers and derive diversified communication contents such as animation, short videos, cultural and creative peripherals, hand-made models, fan creations, and offline exhibitions, forming a complete IP communication matrix. Through multiple channels and multiple forms of secondary dissemination, traditional architectural culture can step out of the game and enter public life. It can be upgraded from a single architectural cultural symbol to a well-known national cultural IP, and continue to expand the influence and dissemination of traditional culture. 2.3 The significance of traditional architectural anthropomorphic character design The two-dimensional anthropomorphic character design of traditional Chinese buildings is not a simple art creativity and appearance beautification, nor is it simply filling in game content, but an innovative exploration of digital activation of traditional culture, quality upgrading of national style games, and linkage communication of virtual and real culture. It has important cultural communication significance, game creation significance, social value and industrial value. In the context of an era in which traditional culture urgently needs to be disseminated to younger people, domestic games urgently need local innovation, and the digital cultural industry urgently needs high-quality development, the value and significance of anthropomorphic design of traditional buildings have become increasingly prominent. It can effectively solve the current industry and social pain points such as the superficialization of national style game culture, the aging of traditional cultural communication, and the scarcity of local game IP. Specifically, it can be divided into three dimensions: cultural inheritance, game innovation, and virtual and real linkage. First, promote the modernization and younger dissemination of traditional architectural culture and achieve the creative transformation and innovative development of traditional culture. For a long time, the form of communication of traditional Chinese architectural culture has been relatively solid, mainly relying on traditional forms such as physical visits to ancient buildings, museum exhibitions, academic documents, documentary science popularization, and classroom teaching. This type of communication method is highly professional, weak in interest, and poorly interactive. Most of the communication audiences are architectural scholars, history enthusiasts, and middle-aged and elderly people. It is difficult to attract the attention and love of young audiences. In the era of fragmented entertainment, diversified aesthetics, and information-based reception of contemporary youth, the boring, static, and one-way communication mode of traditional culture has led to a large number of young people having vague cognition, shallow understanding, and a sense of alienation from traditional architectural culture. Traditional ancient buildings have gradually become "historical specimens" and "museum symbols" that are far away from daily life, and cultural inheritance is facing the dilemma of youth disconnection. The traditional architectural anthropomorphic character design completely breaks this communication dilemma, transforming heavy, serious and static ancient buildings into lively, interesting, emotional, story-telling and interactive two-dimensional virtual characters. Let the cold ancient buildings no longer be distant historical relics, but virtual partners that can accompany young players in their entertainment and growth, communicate and interact, and create emotional resonance, completing the output and popularization of traditional culture in a youthful, interesting, and immersive way. In recent years, the popularity of the domestic hit game "Black Myth: Wukong" has fully confirmed the great value of the game's anthropomorphic and scene-based dissemination of ancient architectural culture. (Figure 2.3) The game draws heavily from Shanxi's ancient architecture of the Tang and Song Dynasties, perfectly restoring the shape, structure, artistic conception, and details of classic ancient buildings such as the Xuankong Temple, Yingxian Wooden Pagoda, and Xiaoleiyin Temple into the game scenes and character designs. With its ultra-high artistic standards and cultural restoration, it quickly detonated the entire network. It not only gained widespread recognition from domestic players, but also attracted a large number of global players to pay attention to the ancient architectural culture of Shanxi, China. Countless young players fell in love with Chinese ancient buildings because of the game, took the initiative to look up ancient building materials, and went to Shanxi to check in and visit ancient buildings, setting off a nationwide "Pilgrimage to Ancient Buildings" craze and truly realizing the transformation of traditional culture from "passive science popularization" to "active exploration." It can be seen that anthropomorphic characters in architecture can lower the cognitive threshold of traditional culture in a form that young people like to see, stimulate young people's desire to explore and love traditional architecture, traditional aesthetics, and traditional culture, and inject new youth vitality into the inheritance of China's excellent traditional culture. Second, empower domestic game content innovation, build a differentiated oriental aesthetic system, and enhance the cultural competitiveness and cultural recognition of domestic games. In recent years, the domestic game industry has developed rapidly, and competition in two-dimensional games and Chinese-style games has become increasingly fierce. A large number of homogeneous and templated game products have been launched online, leading to serious involution in the industry. Most Chinese-style games only stay at the creation level of "antique leather cases", simply stacking ancient scenes, traditional patterns, and fairy tale elements. The core still copies the design templates of Japanese, Korean, and European and American games. The cultural connotation is empty, the characters are thin, and the gameplay is similar. They lack unique cultural characteristics and aesthetic systems unique to China, and it is difficult to form a differentiated competitive advantage in the global game market. As the core carrier of Chinese aesthetics, traditional architecture contains unique oriental aesthetic language and cultural logic. It is the core creative resource for domestic games to get rid of homogenization and create local characteristics. Integrating traditional architectural culture into character anthropomorphic design can fundamentally enrich the cultural core and aesthetic level of the game, providing unique design inspiration and content support for game creation. Extract the character's posture and defensive skills from the architectural structure. For example, relying on the architectural features of Fujian Tulou, which are circularly enclosed, clustered and highly defensive, we design a character skill system of steady guardianship, team gain, and circular defense. We extract the character's action posture and physical effects from the flexible twists and turns of classical gardens to create a light and agile character action system that combines reality and reality. We extract character clothing and visual aesthetics from the elegant colors and patterns of Dunhuang architecture and ancient building paintings to create a unique oriental character image. This kind of character design based on the in-depth transformation of traditional architectural culture is completely different from the templated two-dimensional characters. Each character has its own cultural origin, aesthetic characteristics and content system, which can create a highly memorable oriental aesthetic game image and build a national style aesthetic system exclusive to domestic games. It can not only greatly improve the picture quality, content depth and artistic value of the game, but also strengthen players' sense of cultural identity and national pride, promote the transformation and upgrading of domestically produced Chinese-style games from "visual Chinese-style" to "cultural Chinese-style", and enhance the core competitiveness of domestically produced games in the global cultural market. Third, build a linkage bridge between virtual culture and real architecture, realize the integrated development of culture and tourism, and activate the contemporary social and economic value of traditional architecture. With the rapid development of digital cultural tourism, games are no longer simply entertainment products, but an important cultural communication media and cultural tourism diversion carrier. The design of traditional architectural anthropomorphic characters can break down the barriers between the virtual game world and real ancient architectural relics, and build a complete communication link of "game cognition-cultural identity-offline check-in-cultural communication", allowing static ancient architectural resources to radiate a new era of vitality through digital empowerment. The game creation of "Black Myth: Wukong" perfectly interprets the cultural value of virtual and real linkage. The scene of Xiaoleiyin Temple in the game deeply replicates the real Xiaoxitian Daxiong Palace in Shanxi. From the architectural structure, spatial layout, Buddha statue display, door and window details to the overall artistic conception, a high degree of restoration has been achieved, and the virtual scene accurately echoes the real ancient building. (As shown in Figure 2.4 And Figure 2.5) After players immerse themselves in the game to experience the grand artistic conception of ancient buildings, perceive the aesthetic charm of ancient buildings, and understand the cultural stories of ancient buildings, they will spontaneously have the desire to visit real places and check in, realizing the efficient transformation of game traffic into cultural tourism traffic. This communication model of virtual and real linkage can bring huge exposure and passenger flow to traditional ancient buildings and ancient scenic spots, effectively promote the development of local cultural tourism industry, and activate the economic value of traditional buildings. At the same time, through the global spread of the game, Chinese traditional architectural culture can go abroad and go to the world, allowing overseas players to understand Chinese architectural aesthetics and feel the charm of traditional Chinese culture through the game, and continue to enhance the international influence of China's excellent traditional culture. In addition, the anthropomorphic role of buildings can also be extended to many fields such as cultural and creative products, urban cultural tourism IP, public welfare science popularization, digital exhibitions, etc., To maximize the release of traditional cultural values, so that the thousand-year-old ancient architectural culture can truly integrate into the lives of contemporary youth and into the development of modern society, realizing the multiple values ​​of cultural inheritance, industrial empowerment, and cultural tourism upgrades. Chapter 3 Analysis of the Application of Traditional Architectural Personification in Games 3.1 Analysis of the application of Chinese traditional architecture in games In the context of the rapid iteration of the domestic digital culture industry and the continuous improvement and upgrading of national-style games, traditional Chinese architecture is no longer an exclusive carrier in the fields of traditional cultural research, ancient building protection, and cultural tourism appreciation. Instead, it has fully penetrated into multiple core creative dimensions such as game art, scene construction, narrative architecture, gameplay design, and cultural tourism linkage. It has become a core cultural resource for domestic games to build a localized aesthetic system, consolidate the cultural core, and achieve differentiated competition. Compared with shallow national style elements such as traditional landscape patterns, ancient costumes, and fairy symbols, traditional architecture has the unique advantages of spatial integrity, structural logic, cultural systematization, and narrative carrying capacity. It can build a complete oriental world view, immersive scene experience, systematic cultural content, and diversified interactive gameplay for the game. After years of industry exploration and creative iteration, the application of traditional architecture by domestic game manufacturers has completely moved away from the early extensive model of simple textures, template application, and shallow decoration, and has gradually moved towards a mature stage of refined research, digital reproduction, cultural empowerment, and gameplay integration. Combining the current creative practice and industry cases of Chinese-style games, the application model of traditional architecture in modern games has formed a clear classification system, which mainly includes three core application scenarios: world view narrative carrier, interactive gameplay space, and virtual and real linkage cultural landmarks. The three types of applications are progressive, from the outside to the inside, realizing the all-round value upgrade of traditional buildings from "visual decoration" to "content core" to "industrial carrier". 3.1.1 As the stage where the core world view and narrative take place The game's worldview is the core spiritual framework of a game, which determines the game's aesthetic tone, story background, value core, and user perception. The immersive scene space is the core basis for the implementation of the worldview, narrative advancement, and atmosphere creation. In traditional Western games and Japanese and Korean two-dimensional game systems, game worldview scenes are mostly based on fictional or foreign architectural systems such as Western castles, magical forests, Japanese machiya houses, and floating islands. They have long occupied the mainstream of global game aesthetics, which also led to the core problems of Westernized worldviews, aesthetic templates, and lack of cultural recognition in early domestic games. As the confidence in national cultural culture increases and the need for localized innovation of domestic games becomes more prominent, more and more domestic high-quality games abandon the design of fictional fictional scenes and instead use China's real historical buildings, ancient ruins, and traditional settlements as the core blueprint to build the overall world view and narrative stage of the game. Traditional ancient buildings become the core carrier of game stories, plot advancement, atmosphere rendering, and historical expression, creating a localized game world that combines historical texture, oriental artistic conception, and immersive experience. The core advantage of this application model is that traditional buildings have their own complete historical background, cultural heritage, era temperament and spiritual conception. There is no need for the game production team to fabricate worldview logic out of thin air. Instead, through high-precision digital restoration and artistic optimization, a real, thick, logical and self-consistent game worldview can be built based on the historical attributes, spatial characteristics, and formal temperament of the building. This allows the game narrative to get rid of the shortcomings of being empty and empty, and achieve an immersive expression of "the scene is the narrative, the architecture is the history, and the environment is the atmosphere." In the process of game exploration, level advancement, and plot experience, players can intuitively perceive the era background, social scene, and humanistic temperament of the game through the shape, structure, layout, and details of the building, making cultural expression and plot delivery more silent, real, and tangible. The most representative and influential case in the current industry is the 2024 phenomenon-level domestic 3A game "Black Myth: Wukong". This work is also the first domestic benchmark game to systematically, large-scale, and high-precision restore the Chinese ancient architectural system. It completely refreshes the application of traditional architecture in domestic games and provides a mature reference paradigm for the application of ancient architectural narratives in subsequent Chinese-style games. Compared with most Chinese-style games that use individual ancient architectural elements in scattered ways, the production team of "Black Myth: Wukong" adheres to the creative principles of "research first, culture-based, and artistic empowerment" and conducts on-site research in areas rich in ancient architectural relics such as Shanxi, Shaanxi, and Hebei. It uses classic ancient buildings from the Tang, Song, Liao, and Jin periods as the core blueprint to build the scene system and worldview framework of the entire game. According to official public creation data, the game has a total of 36 core key game scenes, 27 of which are completely based on real ancient architectural remains in Shanxi, covering Foguang Temple, Nanchan Temple, Yingxian Wooden Pagoda, Xuankong Temple, Xiaoxitian, Xiaoxitian Daxiong Hall, Chongfu Temple and other national key cultural relics protection units, covering multiple traditional architectural forms such as halls, pavilions, temples, suspended buildings, grottoes and ancient temples. In the specific creation, the production team did not simply copy the appearance of the building, but deeply studied the overall layout, structural logic, bucket arch system, beam and column proportions, door and window details, painted patterns, sculptures and spatial artistic conception of the building. They combined it with the fantasy narrative background of the game "Journey to the West" for moderate artistic processing. On the basis of retaining the true historical texture of the ancient building, it adapted to the fantasy atmosphere and battle scenes of the game. The entire westward adventure of the "Man of Destiny" played by the player unfolds among these highly restored thousand-year-old ancient temples, volleying pavilions, ancient temples in the mountains, and vicissitudes of life. The grand and simple shapes of the buildings, the texture of the vicissitudes of time, and the quiet and solemn spatial artistic conception are highly consistent with the game's dark fantasy, fateful struggle, and Zen-like world view. The historical heaviness, time accumulation and mysterious atmosphere of ancient buildings have become an important part of the game's narrative. They can silently convey the vicissitudes of history and the core of fantasy without too many lines, allowing players to immerse themselves in the unique aesthetic temperament and cultural heritage of Chinese classical mythology. The popularity of this work also fully proves that the application mode of traditional architecture as a narrative stage can greatly enhance the cultural depth, immersive experience and artistic height of the game. In addition to "Black Myth: Wukong", NetEase's open-world Chinese style game "Sixteen Voices of Yanyun" is also a typical benchmark work that relies on traditional architecture to build a historical worldview. The background of the game is set in the troubled period from the Five Dynasties and Ten Kingdoms to the early Northern Song Dynasty. This stage is a critical period when China's ancient architectural system matured, the market culture flourished, and the social style was very distinctive. There is a wealth of historical architectural materials and cultural materials to explore. In order to accurately restore the texture of the times, the production team conducted in-depth research on classic literary and historical materials and ancient painting documents of the Song Dynasty such as "A Picture of Along the River During the Qingming Festival" and "Tokyo Menghua Lu", combined with the architectural architectural style of the Song Dynasty and the characteristics of urban settlements, and artistically and systematically reproduced iconic Song Dynasty buildings and urban spaces such as Hongqiao, Fan Tower, Daxiangguo Temple, Song Dynasty streets and lanes, and riverside residences. (As shown in Figure 3.1) The game abandons the homogeneous fantasy scenes of traditional Chinese-style games and builds a complete open world map based on the real Song Dynasty architectural system. From the grand royal pavilions and religious temples to the small market shops, riverside bridges and residential courtyards, it fully restores the architectural style and spatial pattern of the Song Dynasty city. During the game exploration process, players can intuitively feel the regular, elegant, simple and smart aesthetic characteristics of the Song Dynasty architecture, and experience the unique atmosphere of the Song Dynasty's urban fireworks and troubled times, truly realizing the production team's creative goal of "every step has a historical texture". This creative model with traditional architecture as the core narrative stage not only makes the game world view more realistic, three-dimensional and logically self-consistent, but also allows the architectural culture and market culture of the Song Dynasty, which have been silent in historical documents and ancient paintings, to be activated and disseminated in the digital age, realizing the two-way empowerment of game entertainment and cultural inheritance. 3.1.2 As an explorable and interactive gameplay space In the early creation of Chinese-style games, the application of traditional architecture was mostly limited to the static visual level, and was only used as background decoration and scenery bedding for game scenes. There were core problems of "strong appreciation, weak interactivity, and lack of gameplay". Architecture and game play are completely separated. Players can only view the appearance of the building from a distance, but cannot enter the interior of the building, interact with the architectural space, or complete game actions based on the architectural scene. As a result, the cultural value and spatial value of traditional buildings are severely wasted, and they only stay at the shallow visual packaging level, making it difficult to achieve a deep integration of culture and games. With the upgrade of national style game creation concepts and the improvement of player experience needs, the application model of traditional architecture has achieved breakthrough innovation, gradually upgraded from "static background decoration" to "dynamic interactive carrier", becoming the core gameplay space for game exploration, plot advancement, mission breakthrough, and cultural experience, truly realizing the organic unity of architectural space and gameplay. The core of the explorable and interactive architectural space application model is to make full use of the complete spatial structure, hierarchical layout, functional zoning and humanistic connotation of traditional buildings to transform the internal space, structural features and historical stories of the building into specific gameplay and interactive content, allowing players to immersively perceive the spatial aesthetics, structural wisdom and cultural heritage of traditional buildings while exploring the architecture and experiencing the gameplay, turning the traditional cultural experience from "passive viewing" to "active participation". Compared with static scene applications, interactive architectural gameplay can greatly enhance the fun, uniqueness and culture of the game, while making the spread of traditional architectural culture more three-dimensional, profound and efficient. The cultural and tourism linkage project between Tencent Game "Hero Kill" and the Guandi Temple in Dongshan, Zhangzhou, Fujian is a classic case of transforming traditional buildings into interactive gameplay spaces, achieving a triple integration of digital reproduction of cultural relics and ancient buildings, innovation in gameplay, and popularization of traditional culture. Dongshan Guandi Temple, as an iconic Ming and Qing ancient building in Fujian, is the core carrier of Guandi culture, loyalty culture, and coastal defense culture in southern Fujian. It has also been selected into the World Cultural Heritage Preliminary List and has extremely high architectural, historical and cultural value. In this cross-border linkage, the production team abandoned the simple skin linkage and scene map linkage modes and relied on high-precision three-dimensional digital technology to conduct an all-round digital reproduction of the Dongshan Guandi Temple's overall layout, hall structure, door and window decorations, beam and column patterns, plaques and stone carvings, and courtyard layout, restoring the true shape and spatial temperament of the ancient building to the greatest extent, and creating a highly restored virtual ancient building scene. On this basis, the production team deeply explored the construction history, reconstruction process, coastal defense stories and loyalty culture of Dongshan Guandi Temple, and tailored an exclusive "loyalty and loyalty" themed plot copy based on the historical background of the building, completely transforming the development context and historical events of the building into the core gameplay content of the game. In the exclusive copy, the production team separated two core levels: "Hongwu Temple Construction" and "Kangxi Reconstruction", which respectively correspond to the key historical nodes of the initial construction and repair of Guandi Temple. In the "Hongwu Temple Building" level, players will be exposed to the coastal defense scene of the Ming Dynasty. Relying on the architectural defense structure of the Guandi Temple, they can complete the battle missions of resisting Japanese pirates, protecting the villagers, and defending the temple. They will immerse themselves in the coastal defense function of ancient coastal buildings and the protection of the home and country of the ancients. Spirit; in the "Kangxi Reconstruction" level, players will participate in the interactive gameplay of ancient building restoration, cultural relic protection, and courtyard repair. They will complete tasks such as restoration of building components and decoration restoration according to traditional construction techniques, and intuitively understand the construction logic and repair wisdom of ancient buildings. In this gameplay system, Dongshan Guandi Temple is no longer a simple static ancient scene, but a core game carrier that carries plot advancement, battle breakthrough, cultural science popularization, and interactive experience. The spatial layout of the building determines the exploration path of the level, the historical story of the building determines the plot of the instance, and the functional characteristics of the building determine the core content of the gameplay. While completing game tasks and experiencing the fun of the game, players can systematically understand the construction history, coastal defense value, architectural features and loyalty culture of Dongshan Guandi Temple, truly realizing the integration effect of "playing games, learning culture, and understanding ancient architecture", and providing a mature practical example for the interactive gamification application of traditional architecture. 3.1.3 As a cultural landmark connecting online and offline In the era of deep integration of digital culture and tourism, games have broken through the pure entertainment product attributes and become the core media for digital cultural dissemination, cultural tourism resource activation, and urban IP creation. The application of traditional architecture in games has gradually transcended the limitations of internal game scenes and gameplay, and extended to the field of offline tourism, forming a new application model in which "virtual games empower real-life ancient buildings, and online traffic transforms offline value." The traditional architectural scenes in the game can quickly become Internet celebrity cultural landmarks by virtue of their exquisite visual presentation, immersive experience effects, and extensive user communication, breaking the restrictions of regions and circles, greatly increasing the popularity and influence of real ancient buildings, building a two-way linkage bridge between the virtual game world and the real cultural tourism scene, and achieving a win-win situation for all parties including the dissemination of traditional culture, the added value of the game industry, and the increase in local cultural tourism revenue. The core logic of this application model is: through high-precision digital restoration and youthful content packaging, the game can make traditional ancient buildings that are originally niche, unpopular, and limited in communication known, loved, and recognized by a large number of young players, stimulate players' desire to explore and check-in, and then promote the transformation of online game traffic into offline cultural tourism traffic, driving the growth of tourists, increasing popularity, and industrial upgrading of real-life ancient architectural scenic spots. At the same time, offline cultural tourism scenic spots can also rely on game IP for secondary content creation, integrating game plots, game scenes, and game IP into offline real-life experiences, realizing the rejuvenation and innovative upgrading of ancient cultural tourism projects, and allowing traditional buildings to glow with new commercial and social value in the digital age. The cross-border linkage between the mobile game "Tianya Mingyue Dao" and the Tulou Huanxing Tower in Yongding, Fujian is a benchmark case for the integration of virtual and real in domestic game culture and tourism, and perfectly explains the core value of traditional architecture as a cultural landmark of virtual and real linkage. Fujian Yongding Tulou is the pinnacle representative of Hakka architecture in my country. It is a world cultural heritage and a national key cultural relics protection unit. It is famous for its architectural features of circular enclosure, group living, strong defense and unique shape. It carries Hakka clan culture, migration culture, defense culture and folk culture. It has extremely high architectural research value and cultural tourism development value. However, for a long time, the communication audience of Yongding Tulou has been limited to cultural tourism enthusiasts and architectural researchers. Young audiences have low awareness. The form of cultural tourism experience is single and homogeneous. There is a lack of youthful and immersive experience content, and industrial development is limited. The production team of "Tianya Mingyue Dao" accurately captured the architectural characteristics and cultural value of the Hakka Tulou, and carried out a 1:1 high-precision digital reproduction of the iconic building "Huanxing Building" in the Yongding Tulou Group. It completely restored the ring structure, layered spatial layout, wooden structure system, patio shape and architectural details of the Huanxing Building, and perfectly integrated it into the game's Jianghu scene system. After the game was launched, the earth building scene with unique oriental architectural features, unique layout, and strong atmosphere quickly gained the love of a large number of young players and became a popular check-in scene in the game. The originally niche Hakka earth building culture quickly broke out of the circle and gained widespread attention from young audiences. Relying on the high popularity of the game and its young user base, the local cultural and tourism department in Yongding, Fujian Province took advantage of the situation to launch an innovative upgrade of cultural tourism that links the virtual and the real. Relying on the game IP to empower the development of real-life ancient buildings, the Jianghu plot, knight settings, and exploration stories in the game were completely implemented in the real-life Huanxinglou Scenic Area, creating the country's first earth-building-themed immersive live-action scripted project. (Figure 3.2) The scenic spot relies on the real earth building architectural space to build an immersive plot scene, and invites actors from professional art troupes to play the game NPC, guiding tourists to immersively experience the Jianghu story in the game, explore the mysteries of earth building architecture, and understand Hakka folk culture and architectural history. This new experience model of "game IP + real-life ancient buildings + immersive script" completely breaks the cultural and tourism pain points of traditional ancient buildings that "can only be viewed, cannot be played, and have no interaction", allowing tourists to transform from mere tourists into story participants and cultural experiencers. After the project was implemented, it greatly activated the cultural tourism vitality of Yongding Tulou, greatly increased the proportion of young tourists in the scenic spot, and realized the multiple values ​​of ancient building protection, cultural dissemination, and cultural tourism income increase. From the perspective of industry development, this case verifies the ultimate value of gamification applications in traditional architecture: games can not only activate traditional culture and enrich game content, but also reversely empower the real economy, help upgrade cultural tourism, and inherit regional culture, allowing thousands of years of ancient architecture to truly integrate into the lifestyles of contemporary young people, and achieve long-term inheritance and sustainable development of traditional culture. 3.2 Application of anthropomorphic character design in games As the core creative technique of two-dimensional games and Chinese-style games, anthropomorphic character design has formed a set of mature, complete, and systematic creative logic and application paradigms after decades of industry iteration. Different from traditional fictional character design, the core of object-based anthropomorphic character design follows the five principles of "prototype traceability, trait transformation, cultural empowerment, aesthetic adaptation, and gameplay implementation", and fully transforms the appearance characteristics, structural characteristics, functional attributes, historical background, and cultural connotations of real objects into the appearance, character core, action postures, skill systems, and plot characters of game characters to create high-quality game characters with prototypes, details, culture, soul, and recognition. The current domestic academic and industry research and practice on anthropomorphic games mostly focus on finished product effects and market feedback, while systematic research on their underlying design logic, detail transformation system, and cultural integration mechanism is relatively weak. Therefore, this section takes the classic Japanese anthropomorphic game "Kantai Collection" as the core case, deeply dismantles the standardized creation process and design rules of anthropomorphic characters from the two core dimensions of character modeling design and character core design, and refines transferable and reusable object anthropomorphic design methods to provide solid case support and theoretical reference for subsequent traditional architectural anthropomorphic character design. 3.2.1 Character modeling design Modeling design is the most intuitive and core external expression of anthropomorphic game characters. It is the key carrier for players to identify characters, establish first impressions, and generate aesthetic identification. It is also the core link in the transformation of prototype characteristics of objects. The core principles of anthropomorphic character modeling design are taking into account both form and spirit, well-founded traceability, detailed implementation, and aesthetic adaptation. That is, on the basis of retaining the core identification characteristics of the object prototype, combined with modern two-dimensional aesthetics for artistic optimization, the prototype's appearance structure, key components, iconic features, and color system are completely transformed into the character's clothing, accessories, body posture, special effects and other visual elements, allowing players to quickly trace the prototype object through character modeling, while satisfying the public's aesthetic needs and collection desires. The complete anthropomorphic modeling design process includes four steps: historical data research, prototype feature extraction, visual element transformation, and aesthetic optimization and upgrading. Every character detail must correspond to the real characteristics of the prototype object, to eliminate unfounded design and template stacking. [5] The classic Japanese xx anthropomorphic game "Kantai Collection" is the pinnacle of anthropomorphic design. The design system of its anthropomorphic ship characters is rigorous, rich in details, and logically clear. It has become a universal reference template for anthropomorphic art design in the world. The game uses the naval ships of various countries during World War II as anthropomorphic prototypes, transforming the cold industrial ship equipment into two-dimensional girl characters with different styles, full human designs, and exquisite details. The modeling design of all characters is strictly based on the real historical data, appearance structure, equipment configuration, size parameters, and service experience of the corresponding ships, achieving the ultimate fusion of industrial objects and humanistic characters. In the early stage of character design, the production team will systematically collect comprehensive information such as the ship's service files, appearance drawings, equipment parameters, historical achievements, and retirement experience, accurately extract the ship's most recognizable and representative core appearance features, disassemble, reconstruct, and transform them into visual details such as the character's posture, clothing, accessories, weapons, and special effects. At the same time, it will be softened and refined based on the two-dimensional aesthetic, taking into account historical authenticity and commercial aesthetics. Among them, the anthropomorphic character of the battleship Yamato is the most representative and most maturely designed classic case in "Kantai Collection", which perfectly explains the strict logic of anthropomorphic modeling transformation. The Yamato battleship was the super battleship with the largest tonnage, the most powerful firepower, and the highest cost in the Sea of ​​Japan during World War II. It has a highly recognizable huge hull structure, iconic main gun configuration and unique hull design, and has strong prototype identification characteristics. In the character modeling design, the production team did not completely reproduce the industrial appearance of the ship, but accurately refined the core identification elements for artistic transformation, achieving a perfect balance between industrial objects and humanistic aesthetics. In terms of overall body design, the character relies on the Yamato's massive, majestic, and majestic hull characteristics to design a tall, dignified, and calm girl's body, which is different from the ordinary petite two-dimensional girl shape and intuitively reflects the majestic size of the battleship. And strong aura; in the transformation of core equipment, the Yamato's two most iconic 46cm super-large-caliber main guns were transformed into the character's core armed accessories and combat special effects, becoming the core source of the character's sense of power and recognition, and intuitively restored The ship has super firepower and combat characteristics; in the design of detailed accessories, all decorative elements have accurate prototype traceability: the exclusive headdress on the character's head is extracted from the rangefinder structure on the top of the Yamato hull, which is a concrete transformation of the ship's observation system; the neck guard pattern on the character's neck replicates the iconic Japanese royal chrysanthemum pattern on the bow of the Yamato, echoing the ship's royal service background and identity; the heels of the high-heeled shoes on the character's feet are based on the design prototype of the ship's rudder, symbolizing The course attribute and navigation function of the ship; the exclusive oil-paper umbrella held by the character is based on the mast structure and air radar equipment at the tail of the Yamato, turning the industrial mechanical structure into a soft and delicate humanistic accessory. The entire set of modeling design is progressive, full of details, and logically closed, ranging from the overall body shape and core armament to the small headgear, accessories, patterns, and shoes. Every visual detail can correspond to the real structure and historical characteristics of the Yamato battleship, truly making the details verifiable, the shape traceable, the features identifiable, and the aesthetics realizable. This rigorous anthropomorphic design model can transform the originally cold, hard-core, and niche military industrial equipment into a two-dimensional character image that is loved by the public, greatly lowering the cognitive threshold of hard-core military culture. While admiring the exquisite appearance of the character and loving the character's design, players will spontaneously become curious about the historical background, equipment structure, and service experience of the Yamato battleship, and actively consult relevant historical data, achieving a closed loop of communication from "loving the character" to "understanding the prototype" to "familiar with the culture", ultimately achieving a win-win effect of the game IP becoming popular and the unpopular culture breaking the circle. At the same time, this case also highlights the core taboos of anthropomorphic design: if the relationship between the character design and the prototype object is low, the feature transformation is vague, and the details lack traceability support, the character will break away from the core advantages of anthropomorphism and become an ordinary templated two-dimensional girl image, losing exclusive cultural recognition, memory points and uniqueness. Not only will it be impossible to realize the value of cultural communication, but it will also be difficult to stand out in the homogeneous game market. It can be seen that the traceability, relevance, and details of modeling design are the core keys that distinguish anthropomorphic characters from ordinary original characters. 3.2.2 Character core design If the modeling design is the external skeleton of the anthropomorphic character, then the core design of the character is the spiritual soul of the character, and is the core key to the character's vitality, appeal, and long-term vitality. Compared with the visual transformation of the external appearance, character core design pays more attention to cultural traceability, temperament matching, spiritual fit, and situational integration. The core is to deeply explore the historical background, social environment, functional attributes, cultural connotations, and spiritual traits of the prototype object, and transform it into the character's personality, behavioral habits, movement postures, values, and ways of thinking. The character's external behavior and inner spirit can fully fit the core characteristics of the prototype object, and achieve a high-level anthropomorphic effect of "physical appearance and spiritual expression at the core." High-quality core design can allow characters to break away from simple artistic images and become cultural carriers that carry cultural spirit, convey humanistic values, and arouse emotional resonance. [6] Character core design is different from ordinary character creation. It cannot make up the personality and temperament out of thin air. It must strictly rely on the attributes of the prototype object and the cultural system of the era, and systematically build it based on the overall world view of the game and the plot context, so that every action, temperament, and behavioral logic of the character has corresponding cultural support and prototype basis. At the level of cultural communication, high-quality core design can integrate the regional culture, folk culture, traditional skills, and spiritual concepts behind the objects into the character system, realize the subtle communication of culture through the players' game experience, and at the same time strengthen the audience's cultural identity and national belonging. The character core design of the four Japanese aircraft carriers in "Kantai Collection" is a classic example of the deep integration of cultural core, traditional skills and character behavior, clearly showing the transformation logic of object prototypes, traditional culture and character core. In the character design of the four aircraft carriers (Akagi, Kaga, Soryu, and Feilong), the production team was not limited to the mechanical attributes of the ship itself. Instead, it deeply combined the spiritual core and action system of the traditional Japanese archery culture to create an exclusive character behavioral logic and temperament core. From the perspective of functional correspondence logic, the core functions of an aircraft carrier are carrier-based aircraft taking off and air combat. Its core mode of launching fighter jets and long-range strikes is highly consistent with the action logic of traditional kyudo bows, arrows, and long-range firings, providing a natural adaptation basis for the transformation of cultural core. Based on this core connection, the production team designed the combat costumes of the four aircraft carriers as artistic variations of traditional Japanese kyudo uniforms, retaining the simple, regular, dignified and elegant shape characteristics of kyudo uniforms, while adapting to the two-dimensional combat aesthetics for optimization and upgrades, so that the character costumes have the temperament of traditional martial arts culture. In terms of core combat action design, the production team completely followed the action system of the "eight knots of shooting" core standard of Japanese kyudo, deeply binding traditional martial arts actions with the combat behavior launched by aircraft carrier fighters, and matching exclusive classic kyudo actions for each aircraft carrier to achieve precise differentiation in the core of the action: Akagi aircraft carrier corresponds to the kyudo "foot step" action to achieve calmness The posture of stepping on the ground reflects the stable aura of the battleship; the Kaga aircraft carrier corresponds to the "bowing up arrow" action, showing the readiness for battle with a ready-to-go posture; the Soryu aircraft carrier corresponds to the "fighting (raising)" action, reflecting the agile combat characteristics with a light and raised hand gesture; the Hiryu aircraft carrier corresponds to the "zanshin" action, showing the calm artistic conception of martial arts with a blank posture. The entire set of action core design fully integrates the martial arts etiquette, action specifications, and spiritual temperament of traditional archery into the combat system of the ship's anthropomorphic characters, giving the cold industrial warship a humanistic temperament and cultural heritage. From the perspective of character creation, the unified core of kyudo culture allows the four aircraft carrier characters to form a serialized and systematic personal style, which strengthens the integrity and cultural recognition of the characters; from the perspective of cultural communication, players can intuitively feel the action specifications and spiritual connotations of traditional Japanese kyudo culture while operating characters to fight and experience action special effects, achieving a lightweight and interesting dissemination of traditional culture. This core design model has a strong cultural empowerment value: for local audiences, the traditional martial arts culture carried by the characters can awaken the audience's cultural memory, stimulate a strong sense of national identity, cultural belonging and object intimacy, and make traditional folk culture and martial arts culture more popular among young people. Achieve revitalized inheritance; for overseas audiences, new oriental traditional cultural elements can bring unique aesthetic experience and cultural freshness, stimulate overseas users' interest in exploring oriental culture, actively understand, learn, and accept foreign traditional cultures, and achieve cross-circle and cross-border dissemination of regional culture. This design logic also provides an important reference for the design of the traditional architectural anthropomorphic core in this study: architectural anthropomorphism must not only reproduce the appearance structure, but also explore the regional culture, traditional skills, and humanistic spirit behind the architecture, and transform them into the character's personality core and behavioral logic. 3.3 Application of traditional culture in anthropomorphic character design Compared with ordinary object personifications such as objects, utensils, animals and plants, traditional cultural object personifications have stronger cultural, narrative, emotional and artistic qualities. Its core creative logic is no longer limited to "reproduction of appearance and transformation of functions", but pays more attention to the refining of cultural symbols, the integration of historical allusions, the empowerment of humanistic emotions, and the sublimation of spiritual core. Traditional cultural carriers such as food, cultural relics, architecture, and folk customs are themselves an important part of the Chinese context. They have thousands of years of historical accumulation, rich poetry and allusions, a complete humanistic system, and unique spiritual connotations. They can provide a steady stream of material support and emotional support for the design of anthropomorphic characters. The domestic food personification game "Food Language" is a benchmark work for domestic traditional cultural personification creation. The game uses traditional Chinese food as the personification prototype and deeply integrates the food ingredient characteristics, taste characteristics, historical allusions, poetry culture, regional folk customs, and humanistic spirit to create a series of Chinese-style anthropomorphic characters with outstanding appearance, full-featured characters, profound culture, and vivid emotions. It completely breaks away from the Japanese anthropomorphic creation template and builds a localized, national-style, and characteristic anthropomorphic design system. This section takes the classic character "West Lake Water Shield" in "Food Language" as the core case, systematically dismantles the complete creation logic and application methods of traditional cultural anthropomorphic characters from the three dimensions of modeling design, interactive design, and core design, and provides localized case references for subsequent traditional architectural anthropomorphic designs. 3.3.1 Character modeling design The modeling design of traditional cultural anthropomorphic characters is the core carrier of cultural visualization, symbolization, and concreteness. The core goal is to quickly create exclusive memory points for characters through intuitive appearance, color, accessories, and sound effects design, awaken users' visual perception and emotional resonance, build a cultural communication bridge between producers and players, and allow players to quickly perceive the character's prototype traits and cultural attributes through external modeling, and enhance the character's empathy and artistic quality. [7] Different from the industrial hard-core style of xx personification, traditional cultural food personification focuses more on the expression of elegance, warmth, and poetic oriental aesthetics, emphasizing the deep integration of the true colors of ingredients, regional customs, classical aesthetics, and character temperament. Every styling detail corresponds to the ingredients characteristics, regional attributes, and cultural temperament of the food. The character "West Lake Water Shield Soup" is based on the Jiangnan classic traditional delicacy West Lake Water Shield Soup. This delicacy is produced in West Lake, Hangzhou, and is a classic representative of Jiangnan cuisine. It has pure ingredients, light taste, and elegant temperament. It has the gentle poetry and literati character of Jiangnan water towns. It also carries the classic homesick allusion of "The Thoughts of Water Shield Perch" and has a profound cultural heritage. Based on the core characteristics of the prototype, the production team set the overall vertical drawing of the character to be the image of a scholar-swordsman made in the ancient style of the Song Dynasty, which perfectly matches the gentle temperament of Jiangnan cuisine and the cultural core of poetry. The aesthetics of the Song Dynasty are characterized by simplicity, elegance, warmth and restraint, and poetic far-reaching, which are highly consistent with the light, pure, natural and authentic ingredients of West Lake Water Shield. Therefore, the overall character uses Hanfu made in the Song Dynasty as the core costume shape, abandoning the accumulation of complicated and gorgeous decorations, and focusing on the simple, casual, low-key and restrained national style. In terms of overall styling, the character wears a bamboo hat commonly used by hermits in the south of the Yangtze River, bringing with it the hazy artistic conception of the misty Jiangnan and the free and easy temperament of mountain hermitage; wearing a simple and elegant Song Dynasty gown, the figure is tall and gentle, combining the elegance and gentleness of a literati and the grace of a swordsman. The figure is fierce and heroic, with both strength and softness, and a unique temperament. He holds a book with pen and ink and a long sword. The pen and ink correspond to Jiangnan poetry culture and literati style, and the long sword corresponds to the chivalrous spirit and feelings of family and country. The combination of dual images accurately echoes the character setting of the character who is accompanied by poetry and has family and country in mind. The overall shape breaks the single sweet and soft style of traditional food personification, and constructs a composite national style that is poetic, free and easy, warm and sincere, which perfectly fits the core positioning of West Lake Water Shield Soup as Jiangnan literati cuisine. In the design of the color system, the overall color matching of the characters strictly relies on the natural tones of the food prototypes to achieve an organic unity of the true colors of the ingredients and the aesthetics of the characters. The most representative fresh green color of the West Lake water shield is used as the character's main color, which runs through the entire visual system such as clothing, accessories, and special effects, intuitively reflecting the fresh, pure, and natural ingredients of the water shield. The white chicken shreds and dark red ham in the soup are used as decorative colors, interspersed in the details of the clothes, cuffs, and accessories to restore the true appearance and layered texture of the food, allowing players to quickly trace the origin of the original food through color. In terms of pattern design, the dark patterns on the body are all extracted from the natural forms of the leaves of water shield. After artistic simplification and reconstruction, they are integrated into the clothing design. The pattern is simple and delicate, low-key and exquisite, not ostentatious and exaggerated, and highly matches the elegant temperament of the character's hermit. In terms of auditory design, the character's dubbing adopts a warm, calm, clear and self-sustained young voice, with a gentle speaking speed and a modest temperament, which perfectly fits the character's humble, elegant, indifferent and transparent character of a scholar who sticks to his heart. It further enriches the character's image from the auditory dimension and achieves a two-way unity of visual aesthetics and auditory temperament. The entire set of modeling design starts from the multi-dimensional aspects of shape, color, pattern, accessories and sound, and comprehensively reproduces the ingredient characteristics, regional temperament and cultural attributes of the prototype food, creating an image of a traditional cultural anthropomorphic character with high recognition, profound cultural heritage and strong empathy. 3.3.2 Character interaction design If modeling design is the static aesthetic expression of a character, then character interaction design is the embodiment of the dynamic vitality of the character, and is the core channel for deep links between players, characters, and traditional culture. The core of the interactive design of traditional cultural anthropomorphic characters is to fully integrate the functional characteristics, taste characteristics, cultural attributes, and spiritual temperament of the prototype objects into dynamic links such as game skills, combat mechanisms, interactive animations, dialogue voices, personality behaviors, etc., So that players can continue to perceive the core characteristics of the prototype culture in the process of operating the characters, experiencing gameplay, and daily interactions, and realize the upgrade from static cultural aesthetics to dynamic cultural experience. Compared with static modeling, dynamic interactive design can integrate culture into players' core gaming behaviors and achieve immersive and normalized cultural communication. The full interactive design of "West Lake Water Shield Soup" is deeply consistent with the core characteristics and cultural connotation of the prototype food, achieving a trinity of gameplay, character design, and culture. From the perspective of food characteristics, West Lake Water Shield Soup, as a classic clear soup delicacy in the south of the Yangtze River, is characterized by its light taste, pure soup, fresh ingredients, gentleness and nourishing the stomach. It is not strong, not showy, not aggressive, and focuses on nourishing, moistening, and healing dietary characteristics. Based on this core characteristic, the production team set the character's professional positioning as an auxiliary knight, which is different from the high-explosion, high-damage output character. It focuses on the gameplay mechanism of gentle gain, team assistance, and continuous endurance, which perfectly fits the core characteristics of nourishing food and moisturizing things silently. In terms of skill interaction design, the character has a dual skill system, corresponding to knight attributes and literati attributes respectively: melee long sword attack skills, reflecting the heroism of the character as a swordsman, retaining the fun and competitiveness of the game's combat gameplay; poetry recitation gain skills, which are the characters' The core characteristic skill of the game is that the character recites Jiangnan poetry and expresses the feelings of the literati, providing numerical gains, status endurance and attribute bonuses for team teammates. The skill effect is gentle and soft, with a long-lasting range, without harsh killing effects, and is highly consistent with the light and warm characteristics of food. This skill design model perfectly transforms the taste characteristics of food into the gameplay characteristics of the game, achieving a deep binding of food culture and game gameplay. In terms of character and daily interaction design, the character is set to be light and elegant, gentle and self-sustaining, loves his hometown, and sticks to his heart. His eating habits prefer light vegetarian food and Jiangnan customs, and he hates rich and flashy food, which is completely in line with the taste characteristics of the prototype food. In dialogue voices, standby actions, and daily interaction texts, characters frequently appear to praise the mountains and rivers of Jiangnan, recall the scenery of West Lake, recite Jiangnan poetry, and care about their hometown. They quote a large number of classic poems and famous lines from Jiangnan literati such as Lu You and Xin Qiji, integrating poetry culture, Jiangnan regional culture, and homesickness culture into every player interaction. In the process of daily development, dialogue interaction, and skill use, players can continue to feel the character's gentle and elegant temperament and strong nostalgia for their home and country, and comprehensively perceive the Jiangnan food culture and poetry culture behind the West Lake Water Shield Soup, allowing the traditional cultural experience to run through the entire game. 3.3.3 Character core design Character core design is the highest dimension of the design of traditional cultural anthropomorphic characters, and is the core key to the character's emotions, thoughts, character and vitality. Compared with modeling and interactive design, core design pays more attention to historical traceability, emotional resonance, and spiritual sublimation. It requires in-depth exploration of the historical allusions, humanistic background, poetic imagery, and spiritual connotation corresponding to the prototype object. Based on this, a complete character's life experience, personality system, values, and emotional core are built, so that the character not only has an exquisite appearance and smooth gameplay, but also possesses spiritual power and cultural warmth that touches people's hearts. The core design of "West Lake Water Shield Soup" revolves around the four core dimensions of historical allusions, regional emotions, literary character, and feelings of family and country, creating a spiritual world of the characters with rich layers, full of emotions, and far-reaching intentions. First of all, the core of the character deeply traces back to classic historical allusions to establish the core emotional tone. The core cultural symbol of West Lake Water Shield Soup is the classic allusion "Thoughts of Water Shield and Perch" recorded in "Shishuo Xinyu". The ancients expressed their deep homesickness with the two Jiangnan customs of Water Shield and Sea Bass, expressing their attachment and concern for the landscape, customs and culture of their homeland. This is also the core cultural memory point that distinguishes West Lake Water Shield Soup from other delicacies. The production team deeply integrated this allusion into the character's spiritual core and life setting, giving the character a strong sense of hometown complex and homesickness. In the world view setting of the game, the character lives in seclusion by the West Lake all year round, sticks to a small restaurant, and always insists on using the original ecological ingredients native to West Lake to make authentic Jiangnan soup. Sticking to the flavor of his hometown for decades will have a great impact on Jiangnan. All the longing and love for the mountains, rivers, homeland, and hometown fireworks are integrated into bowls of warm water shield soup, which perfectly interprets the cultural connotation of "Thoughts of Water Shield" and rejuvenates millennium allusions in the form of concrete characters. Secondly, the character core is deeply integrated with the history of literati in the Song Dynasty, enriching the character and story levels. In order to further enhance the cultural depth and narrative depth of the characters, the production team deeply tied the characters to the Jiangnan literati group of the Southern Song Dynasty and incorporated real historical figures and literati deeds, so that the character stories have both fictional beauty and historical depth. According to the background setting of the character, during the Southern Song Dynasty, Lu You had a bumpy career and had great ambitions. He often traveled to the West Lake to relieve his emotions, and frequently visited the character's lakeside restaurant, tasting authentic Jiangnan cuisine and talking about his poetic ideals. The character becomes acquainted with Lu You, and later gets acquainted with Xin Qiji and other patriotic literati of the Southern Song Dynasty. This group of literati lived in troubled times, with their country and country at heart, and high aspirations. They had the elegance and poetry of the literati, and the sincerity and enthusiasm of the people with lofty ideals. They gathered in the lakeside restaurant on weekdays, talked about poetry, Taoism, the art of war, worried about the country and the people, and adhered to their original ideals of regaining the mountains and rivers and serving the country. The setting of this character's experience completely breaks the character's position as a simple "food carrier" and becomes a witness and bearer of the Southern Song Dynasty literati's character, feelings of family and country, and poetry culture. The character has accompanied a group of patriotic literati all year round, and has been deeply influenced by the righteousness of the family and the country and the character of poetry. He has also accumulated the spiritual characteristics of being indifferent to fame and fortune, caring about the common people, and sticking to his true heart. Subsequently, the world changed and the years passed. A group of close friends died one after another because of their unrealized ambitions. The mountains and rivers were still broken, and the family and country could not be unified. The characters felt emotional and looked down on the glitz of the world. They chose to retreat to the West Lake to stay in a pure land and stick to their original aspirations. Finally, the core of the character completes the spiritual sublimation and creates long-lasting emotional resonance and cultural value. After returning to seclusion, the character lived a simple and plain life, low-key and self-sufficient, but he never gave up the persistence of his family and country and his responsibility as a scholar. He always silently protected the landscape of West Lake, helped the young people who cared about their country and were determined to serve the country, and passed on the sincerity and ideals of the older generation of literati from generation to generation. This attitude of "being successful will help the world, and being poor will be self-sufficient" perfectly interprets the noble character and original intention of the family and country of traditional Chinese literati "who are also worried when they advance, and who are also worried when they retreat". Overall, the character core design of "West Lake Water Shield Soup" deeply integrates multiple cultural elements such as traditional food culture, classical poetry and dictionary allusions, the history of literati in the Song Dynasty, feelings about family and country, and local attachment to build a three-dimensional, full, warm, characterful, and deep spiritual world of the character. In the process of experiencing character stories and developing characters, players can not only understand Jiangnan food culture, West Lake regional culture, and classical poetry culture, but also deeply feel the feelings of family and country, philosophy of life, and spiritual character of traditional Chinese literati, and arouse their own belonging to the mountains and rivers of their home country. It subtly enhances cultural confidence and cultural pride, and truly realizes the core value of traditional cultural anthropomorphic design of "conveying text with form, conveying emotion with text, and educating people with emotion", and also provides a complete reference paradigm for the core design of anthropomorphic characters in traditional buildings. Chapter 4 The application of traditional architectural personification in "Denglou Fu" In the context of the digital inheritance of Chinese traditional culture and the booming development of national-style original IP, traditional ancient buildings are no longer limited to the traditional circles of cultural relic protection, academic research, and cultural tourism appreciation, and have gradually become a treasure trove of core materials for national-style artistic creation, digital character design, and local cultural IP creation. Compared with shallow national style elements such as landscapes, flowers and birds, and patterns, Chinese classical famous buildings have complete form aesthetics, profound historical accumulation, rich poetic heritage, and unique spiritual connotations. They are a composite cultural carrier that integrates architectural art, literature and art, humanistic spirit, and regional culture. As an original creative work of national style anthropomorphism based on China's eight famous historical buildings as the core prototype, "Ode to a Tower" breaks through the pain points of traditional architectural display forms, limited communication audiences, and obscure cultural expressions. It adopts innovative creative techniques of architectural anthropomorphism. The eight iconic famous towers, Tengwang Pavilion, Yellow Crane Tower, Stork Tower, Yueyang Tower, Penglai Pavilion, Yuejiang Tower, Tianxin Pavilion and Xi'an Bell Tower, have been transformed from static ancient architectural entities into vivid, three-dimensional, virtual characters with appearance, personality and spiritual core. This chapter takes the anthropomorphic creation series of "Ode to a Tower" as the core research object, and deeply analyzes the application logic, anthropomorphic design system and cultural empowerment mechanism of the eight famous buildings in the works. From the two dimensions of cultural connection and spiritual empowerment, the core value of classical famous buildings as a link between traditional culture and digital virtual content is explained; from the two levels of interesting modeling and core characterization, the standardized creation ideas of traditional architectural anthropomorphic characters are dismantled; at the same time, combined with the corresponding character design details of eight famous buildings, a systematic analysis of real-life architectural considerations Based on the complete implementation path of cultural refining of poetry, transformation of historical connotation, and innovation of visual aesthetics, it explores the application value and practical significance of traditional architectural anthropomorphism in contemporary national style creation, cultural communication, and IP innovation, and provides a systematic theoretical reference and practical example for the subsequent digital creation of traditional architectural national style and the younger inheritance of traditional culture. 4.1 Analysis of the application of eight famous buildings in "Denglou Fu" Ancient Chinese landmark buildings are the culmination of traditional Chinese construction techniques and classical aesthetics. Their unique architectural shapes, exquisite structural layouts, rich color combinations, and magnificent overall aura can form strong visual recognition and memory points. After thousands of years of precipitation, they have formed a solid aesthetic perception and cultural impression in the hearts of the public. Different from ordinary residential buildings, gardens, and market buildings, the Eight Famous Buildings, as the pinnacle representatives of Chinese classical pavilion architecture, have both architectural aesthetic value, literary communication value, and humanistic spiritual value. Relying on the two-way empowering communication mechanism of "buildings are famous for their literary names, and literature is transmitted through buildings" [8], they form a complete cultural communication chain of "architectural entities - literary works - public perception - cultural symbols". In the creative system of "Ode to the Towers", the eight famous buildings are no longer simply real-life buildings, historical symbols or literary images, but have become the core bridge connecting virtual art creation, China's excellent traditional culture and real cultural relics. The creative team transformed the cold static ancient buildings into virtual anthropomorphic characters that are suitable for digital communication, in line with contemporary aesthetics, and have cultural depth through comprehensive research and refinement of the real-life shapes, color systems, structural features, historical evolution, poetry and dictionary allusions, and regional culture of the eight famous buildings. It gives the virtual character a unique visual identity and cultural foundation, and also creates an exclusive spiritual core for the character that is different from ordinary national images [9], realizing the modern translation of traditional architectural aesthetics, the visualization of the connotation of classical literature, and the youthful upgrade of traditional cultural dissemination. 4.1.1 ，，，，，，IP 4.1.2 IP，，，，，，，"" ，，，，，[10]，，，，， ，，，IP，，，，，"" 4.2 ，，[11]，，，，"" 4.2.1 [12]，， ，""，， 4.2.2 4.3 ，，，，[13]，，，，， 4.3.1 ，，，，：1942，，，，，，[14]，， 4.3.2 4.3.3 4.3.4 ，，，，，，"，"[15]，""，"，"， 4.3.5 4.3.6 4.3.7 4.3.8 ""，""，，，，，，，[16] 4.4 ，， ，，，，，，IP Summary ，，，：，，，，；，，，，，，；，，"—————"，，，IP ，IP，，，，，，，，，， ，IP，，，，，，，，，，IP Intention: None