As female-oriented games continue to grow in popularity and expand their user base, they have also become a hotbed of controversy. In recent weeks, otome game Ashes of the Kingdom has been at the center of an online firestorm, with discussions reaching a fever pitch in December last year.
Early that month, Ashes of the Kingdom faced mounting criticism from players over controversial in-game dialogue and character descriptions, which many felt were inappropriate and offensive. Some lines were accused of being crass, overly reliant on internet memes, or dismissive of women—striking a nerve with the game’s predominantly female audience. For instance, one character description joked about “smoked chicken at noon, smoked chicken at night,” referencing a trendy meme in China that felt out of place and tone-deaf in a female-oriented game.
Another controversial line described the character Shi Zimiao (Fuzhu) as “a character whose basic attacks deal continuous damage and can unleash two different skills—do you think the OP will like him?” Some players felt this casual, mechanics-focused phrasing evoked the tone of male-oriented harem anime, where characters are often reduced to features or objects of desire, betraying the game’s promise of female-centric storytelling.
The backlash escalated further on December 12, 2024, when players noticed that Ashes of the Kingdom had quietly removed its classification as a female-oriented game on several platforms. For many, this change was interpreted as the developer distancing itself from the female market entirely, intensifying player outrage. That same day, social media platforms lit up with trending hashtags as players expressed their anger and disappointment en masse.
In response to the backlash, Lingxi Games asserted that the operations of Ru Yuan and Ashes of the Kingdom are entirely independent, functioning as domestic and global counterparts, respectively. The company claimed that the controversial writing present in Ashes of the Kingdom does not exist in Ru Yuan. Moreover, Lingxi claimed that Ru Yuan has always positioned itself as an immersive, narrative-driven card game and has never explicitly marketed itself as a female-oriented game, as shown on its official website and app store page.
However, players were far from satisfied with this response. In their view, Ru Yuan and Ashes of the Kingdom—as different versions of essentially the same game—should share the same core values and brand identity. By attempting to distance the two versions, Lingxi’s explanation was seen as a superficial fix that did little to address the deeper issues.
According to data from Qimai, in the days following the controversy, Ru Yuan experienced a significant drop in estimated revenue on the iOS App Store, with daily earnings falling by as much as 30.63%. Meanwhile, marketing collaborations between Ashes of the Kingdom and brands like Pop Mart and Keep were abruptly canceled due to player boycotts. Ratings for Lingxi’s other titles on platforms like TapTap and the iOS App Store also fell, indirectly damaging the reputation of Ru Yuan and hindering its ability to attract new users.
The uproar over this incident reveals a harsh reality: while female-oriented games are growing rapidly, many developers still struggle to connect deeply with the demands of the female market.
Since its official release in 2023, Ashes of the Kingdom recorded first-month revenue of over RMB 10 million across Android and iOS platforms. By the end of December 2023, its cumulative revenue had reached RMB 73 million. After Ru Yuan entered public beta on September 26, 2024, it ranked among the top five bestselling games on iOS App Store charts, placing 12th in the app store’s October 2024 mobile game revenue chart.
As the player base expands, so do expectations for quality. For a longstanding title in the female-oriented gaming category, controversies like this prompt players to question whether their spending genuinely supports what they once viewed as a female-friendly gaming environment.
Ashes of the Kingdom: Why is it popular among women?
Beyond its exquisite art style, immersive Live2D technology, and diverse gameplay features, Ashes of the Kingdom distinguishes itself with a reportedly female-centered perspective.
In traditional gal games—romance-focused video games typically presented from a male perspective—female characters are often portrayed as objects of male desire, reduced to shallow, objectified roles with exaggerated sexual appeal. These depictions often undermine the depth and integrity of the characters.
However, since the release of Mr Love: Queen’s Choice in 2017—the first major female-oriented game in China—the potential of this market has gradually been recognized.
Unlike male-focused games, female-oriented games rarely incorporate narratives involving the “male gaze.” In romance-centric otome games, for example, male characters are designed to provide emotional support and encouragement, offering experiences that cater specifically to women’s emotional needs. Similarly, dress-up games deliver emotional value by allowing players to personalize and beautify their in-game characters.
However, women’s gaming preferences go beyond romance and aesthetics.
While many female-oriented games revolve around tropes like dating an ideal partner or dressing up, Ashes of the Kingdom takes a different approach, prioritizing female agency and self-determination. Departing from the male-centric narratives of previous Three Kingdoms-themed games, Ashes of the Kingdom offers a story where players experience the growth, independence, and empowerment of its female characters.
In the game, players assume the role of the prince of Guangling, who is shrewd, resilient, and decisive. From the start, the player must navigate political power struggles, protect oneself and others, and make reasoned decisions about relationships with in-game characters. The player is neither a passive figure needing rescue or one to be romanced—an antithesis to games serving a male-dominated player base.
The game also offers a compelling ensemble of female characters, including Zhen Mi, who dreams of passing her civil service exam; Xu Man, who’s infamous for breaking off engagements; and Guo Jie, who is fiercely vengeful. These characters break traditional stereotypes of being frail or submissive, embodying strength both mentally and physically. The line “Destiny should belong to women” has become a signature quote for the game, highlighting its female-centric perspective.
In contrast to the repetitive gameplay found in many female-oriented games, Ashes of the Kingdom stands out for its more challenging combat mechanics. Instead of relying solely on automated battles, players must strategically arrange character cards with unique skills to overcome difficult boss levels. The thrill of mastering the system provides a sense of accomplishment that goes beyond superficial emotional engagement.
Some players, who rarely play otome games, have expressed interest in Ashes of the Kingdom. “I lose interest in romance-focused games quickly, but this game’s strategic combat, city-building, and immersive intrigue are what truly hooked me,” one player said.
It’s apparent female-oriented games do not need to be confined to a single formula. Action, strategy, and real-time combat can all be made female-friendly to bring games beyond meeting surface-level emotional needs, delivering added value.
Separating characters from gameplay
While revenue for Ashes of the Kingdom has plummeted, interest in its characters remains strong. Discussions around the characters have not only persisted but even increased, and prices for fan merchandise have stayed stable. Many players who have quit the game entirely still create fan art and purchase character-themed merchandise.
This separation between the game and its characters may stem from the well-rounded character design.
Each major character in Ashes of the Kingdom is given a rich backstory, allowing them to stand as individuals with depth and complexity. When the writing strays from their established personas, players often attribute this to the writers being out-of-character rather than faulting the characters themselves.
One player summed it up: “It’s the initial care and thought put into these characters that make them come alive. They have grown beyond their creators, becoming independent personas.”
This emotional bond has also shielded characters from the game’s controversies. When players invest emotionally in the characters, they tend to shield them from negative perceptions of the game itself.
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The higher the moral expectations, the more severe a game’s fallout could be. When Ashes of the Kingdom heavily marketed itself with its feminist tagline: “Destiny should belong to women,” it drew in loyal players, but also set a high bar for the game’s content.
Some players had already observed that the storylines lacked impactful moments. The protagonist’s role as prince of Guangling often felt passive, with a lack of agency or resources to achieve goals. This disconnect between lofty marketing slogans and lackluster execution left many players disappointed.
Moreover, while romance remained a key element of the game, the protagonist often ceded pivotal moments to male characters, leading some to complain, “I don’t want to keep seeing her rely on men—I want to see her shine on her own.”
The Ashes of the Kingdom controversy reflects the shifting preferences of female gamers in an era where women’s economic and educational achievements continue to grow. Outdated tropes of strong men and weak women no longer resonate with most female players, who now seek emotional and intellectual equality in the games they play.
Despite the negative fallout from this incident, Ashes of the Kingdom remains a standout for carving out a niche of its own. Its emphasis on female-centered storytelling offers an inspiring foundation for future games. Yet, it also serves as a reminder to developers: to create games that truly reflect women’s needs and perspectives, rather than reducing them to superficial marketing gimmicks.
KrASIA Connection features translated and adapted content that was originally published by 36Kr. This article was written by Feng Min for 36Kr.