Management & Organizations

The Gap in Taiwan’s Creative and Gaming Industries: From Leadership to Licensed Operations

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English translation of the Chinese post originally published 2022-05-17. Translated 2026-10-28 with AI assistance. Historical figures and claims have not been updated or independently verified. 中文原文

Reading guide

More than a decade ago, Taiwan’s game companies commonly told VC evaluators that Chinese games were poor-quality and uncultured. In under ten years, most Taiwanese firms became operators of licensed Korean and Chinese games, despite earlier leaders such as Softstar and influential titles such as 軒轅劍 and 仙劍奇俠. Film, television, and music have also declined: the gap after Jay Chou, A-mei, and Mayday’s generation is substantial. Huawei offers a comparison. Taiwan’s networking firms dismissed it 20 years ago; now even the United States is wary. A huge market turns quantity into quality. Robin argues that resource-constrained Taiwan must understand global trends and its own cultural strengths, rather than follow whatever others do well. He sees growing opportunities amid US–China tensions and urges Taiwan to position itself for the next wave.

Key points

  • Gaming: from 仙劍奇俠 (Xian Jian Qi Xia) and 軒轅劍 (Xuan Yuan Jian) to licensed operations.
  • A gap in film, television, and music: who follows Jay Chou’s generation?
  • Huawei’s lesson: quantity can turn into quality.
  • Robin sees more opportunities for Taiwan amid US–China tensions.
Distinct modular elements joined into a coordinated, balanced whole.
Management & organizationsThematic illustration · AI generated

Full text — English translation

More than ten years ago, when the VC community evaluated Taiwan’s gaming industry, local firms typically replied that Chinese games were low-quality and lacked culture. In less than ten years, most Taiwanese game businesses became licensed operators of Korean and Chinese games, while Chinese games have recently begun expanding overseas. Taiwan once had leading companies such as Softstar (大宇) and games such as 軒轅劍 (Xuan Yuan Jian) and 仙劍奇俠 (Xian Jian Qi Xia) that profoundly influenced Chinese-speaking audiences. Taiwan’s film, television, and music industries have also gradually lost their role in leading the Chinese-speaking world. Music may be what remains, but after Jay Chou, A-mei, Wang Leehom, Jolin Tsai, S.H.E, and Mayday, which Taiwanese singers or bands still have comparable influence? The gap over the past decade-plus is substantial. China’s huge market turns quantity into quality. Twenty years ago, which Taiwanese networking company considered Huawei a rival? It was seen as unreliable and limited to low-priced products. Yet 20 years later, even the United States is deeply wary of it. Personally, I think Taiwan’s limited resources and small population require us to understand world trends more actively and find our cultural strengths and distinctive qualities, rather than follow whatever others do well. Over the next 10–30 years, US–China conflict may actually bring Taiwan more opportunities. We must move faster and be ready to ride the next major wave. One more point: China’s government still favors centralized control, strongly influenced by its leader’s will and beliefs. Hu Jintao and Xi Jinping represent very different leadership. Recent crackdowns have spared virtually no sector—gaming, e-commerce such as Alibaba, internet businesses such as Didi and Ant, education, and livestreaming. Pandemic-driven supply-chain restructuring and Shanghai’s lockdown also affect foreign investors’ perceptions and future actions. New opportunities and room may therefore open for Taiwan.

These articles are personal notes, book excerpts, and collected reprints. Figures and events reflect the time of the original publication, are not current information, and do not constitute investment advice.

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