Club提要：8月20日，《黑神话：悟空》游戏横空出世，两天内就实现全球200万+玩家同时在线的成绩。这一现象并不是孤立的，在互联网平台的推动下，各国文化产品加快交融，文化“再全球化”正全力前行。
北京对话秘书长韩桦于9月1日在《南华早报》发表题为“世界正在变小，至少在文化上如此（The world is getting smaller, at least culturally）”的评论。她指出，尽管经济全球化因政治互信缺乏而遭遇逆流，甚至影响到了正常民间交往，但是互联网驱动的文化全球化成功“逆流而上”，甚至可能成为“再全球化”的新质推动力。
此文部分借鉴作者在“2024年金砖国家与多极世界”对话会期间发表的讲话。
在过去两周，中国迎来了两件具有里程碑意义的中西文明交融的大事：一是纪念中国改革开放总设计师、年轻时去西方学习的邓小平诞辰120周年；二是《黑神话：悟空》这款受四大名著之《西游记》启发的大型游戏征服了全球市场。
这表明，不论当下经济和技术的“去全球化”如何演进，“文化全球化”将是一股强大的力量，能够弥合分歧，促进全球团结和发展。
“全球化”在当下的处境不容乐观，即将到来的美国大选并不会提供缓和的机会——美国两党都对中国采取强硬立场，特朗普更是威胁要对多个国家征收关税。虽然中国仍在积极倡导全球化，但作为世界第一大经济体的美国，反而成为全球化的阻力，一个巴掌拍不响。
全球化持续逆转的核心在于政治互信的缺失。尽管全球化在理论上仍有吸引力，但地缘政治的紧张局势以及各国对安全和就业的担忧，助长了关税和制裁，并人为抬高了贸易成本。
与此同时，民间往来也遭到了冲击，中美之间的航班数量尚未恢复到新冠疫情之前的水平，这也与俄乌冲突有关。尽管两国人民仍有互相了解的需求，但政治因素在阻碍着交流。
当然，中国可以做得更多。在过去一年间，中国一直在努力振兴国际旅游业，向数十个国家的公民提供免签入境待遇。机场有专门的服务台帮助国际游客使用中国的各种手机支付软件和小程序，酒店也成为外国访客的“帮助中心”。
这只是新冠疫情对全球化产生不利影响的几个方面。各国边境的突然关闭和全球供应链的中断，凸显了全球化经济的脆弱性，这是贸易战和关税都未能“实现”的。
因此，“脱钩”和“去风险化”等概念大行其道。虽然中国认为这些理念与西方长期坚持的市场经济原则相悖，但近年发生的全球事件让许多人开始重新考虑当前全球化模式的可持续性，尤其考虑到全球的不稳定和不可预测性正在日益加剧。
然而，在去全球化的大趋势下，文化全球化仍然是希望的灯塔。事实上，在文化层面发生的可能不是脱钩，而是全球一体化程度的加深和文化多元化的提升。
例如，由中国工作室“游戏科学”开发的《黑神话：悟空》以其创新的游戏玩法和令人惊叹的视觉效果赢得了全球赞誉，在发布两天内就吸引了200多万玩家同时在线，并荣登全球游戏排行榜榜首。这一成就表明，人们对超越国界、促进国际交流的文化产品的需求日益增长。
《黑神话：悟空》的影响并非孤立现象，而是反映了更广泛的文化交流趋势；该游戏宣传材料中的中国地标，尤其是山西省的各种地标，引发了国际社会对中国及其丰富文化遗产的好奇。
一位中国玩家在豆瓣上写道：“你在大马士革骑马，在欧洲当过海盗，在美国开枪，在埃及当过刺客，西部当牛仔。现在，你终于可以回到家乡，做一回天命人。”
“韩流”的崛起是文化全球化超越政治和地理界限的另一个例子。防弹少年团和Blackpink等韩国音乐团体创造了享誉国际的文化地标，促进了不同文明之间的文化对话。
他们的影响力不仅限于音乐，还促进了不同国家之间的相互尊重。来自世界各地的“韩流”歌迷庆祝他们喜爱的艺人所取得的成就，参加全球歌迷活动，并进行跨文化交流；这表明，不管地缘政治局势如何，文化可以将人们团结在一起。
韩国和中国电视剧在网飞等全球流媒体平台上日益凸显的地位进一步印证了这一趋势。《爱的迫降》和《恋慕》等韩剧，以及《墨雨云间》和《山河令》等中国热播剧，都在国际平台上取得了令人瞩目的成功。TikTok等应用程序已成为中国资本和西方演员合作短片的全球舞台，将本土创意与国际吸引力融为一体。
《黑神话：悟空》问世之际，中国游戏产业也在加强其全球影响力，促进国际合作。这种交流不仅重塑了娱乐产业，也推动了流媒体技术和数字基础设施的进步。
这些文化产品的成功，标志着全球化进入了一个新阶段。即使国际旅行仍然困难重重，跨文化交流也能让人们对从未去过的国家有更多的了解。与精英驱动的经济交往相比，这种交流可以为增加信任打下更坚实的基础。
从这个意义上说，文化全球化可以为全球化整体进程注入新的活力，证明全球化以其多样的形式一如既往地具有现实意义。
（编译：李泽西）
英文原文如下：
Over the past couple of weeks, China has marked two milestone journeys to the west, not only commemorating the 120th birth anniversary of Deng Xiaoping, the visionary behind China’s reform and opening up and learning from the West, but also celebrating how Black Myth: Wukong, a blockbuster game inspired by the Chinese classic Journey to the West, has conquered the global market.These events underscore an important truth in today’s climate of economic and technological deglobalisation: cultural globalisation continues to be a potent force, one capable of bridging divides and fostering global unity and development.Right now, the international outlook appears rather bleak. The coming US election shows no signs of offering relief, with both major political parties taking a hardline stance on China. In particular, Donald Trump has threatened tariffs against multiple countries. While China remains a vocal supporter of globalisation, the reality remains that it takes two to tango, as the United States is still the world’s largest economy in nominal terms.At the heart of the ongoing reversal of globalisation lies a deficit of political trust. Despite the continued logical appeal of globalisation, geopolitical tensions and concerns about national security and employment are fuelling tariffs and sanctions, as well as artificially inflating the cost of trade.Meanwhile, at the people-to-people level, flights between China and the United States have yet to recover to pre-Covid-19 levels, partly hampered by the Russia-Ukraine conflict. Politics continues to impede people-to-people exchanges, despite demand.This is not to say that China couldn’t do more. The country has been attempting to revive its international tourism industry by granting visa-free entry to citizens from dozens of countries in the past year. Dedicated help desks at airports assist international tourists in navigating China’s essential apps, and hotels are also convenient hubs to provide help for foreign passport holders.This shows just a few of the ways in which the Covid-19 pandemic particularly affected globalisation for the worse. The sudden closure of borders and the disruption of global supply chains highlighted the vulnerabilities of a globalised economy, in a manner that trade wars and tariffs had previously failed to do.As a result, concepts such as “decoupling” and “de-risking” gained prominence. While China argues that these ideas contradict the principles of the market economy long upheld by the West, recent global events have led many to reconsider the sustainability of the current model, particularly in a time of growing instability and unpredictability.However, cultural globalisation remains a beacon of hope amid the broader trend of deglobalisation. In fact, instead of decoupling, we may be witnessing increased global integration and a deepening appreciation for diverse cultures.For instance, Black Myth: Wukong, developed by the Chinese studio Game Science, has garnered global acclaim with its innovative gameplay and stunning visuals, attracting more than two million concurrent players within just two days of its release and topping global gaming charts. This success illustrates a growing appetite for cultural products that transcend national boundaries and foster international exchange.The impact of Black Myth: Wukong is not an isolated phenomenon. It reflects a broader trend of cultural exchange, with the game’s promotional materials featuring Chinese landmarks, particularly in Shanxi province, and sparking international curiosity about China and its rich cultural heritage.As a Chinese gamer put it on Douyin, “You have ridden a horse in Damascus, been a pirate in Europe, fired a gun in America and been an assassin in Egypt. Now, you can finally come home and be your own hero.”The rise of K-pop is another example of how cultural globalisation can transcend political and geographical boundaries. South Korean groups like BTS and Blackpink have created internationally acclaimed cultural landscapes and fostered cultural dialogue between diverse communities.Their influence extends beyond music; they foster mutual respect among different nations. K-pop fans from around the world celebrate their favourite artists’ achievements, take part in global fan activities and engage in cross-cultural exchanges, showing that culture can unite people despite geopolitical tensions.The increased prominence of Korean and Chinese dramas on global streaming platforms such as Netflix further illustrates this trend. Korean shows such as Crash Landing On You and The King’s Affection, alongside Chinese hits like The Double and Word of Honour, have achieved remarkable international success. Apps like TikTok have become a global stage for short reels produced by Chinese investors and Western actors, blending local creativity with international appeal.Even as Black Myth: Wukong prepared for its official launch on August 20, the Chinese gaming industry was boosting its global reach and fostering international collaboration. Such exchanges are not only reshaping the entertainment industry, but also driving advancements in streaming technology and digital infrastructure.The success of these cultural products signals a new phase in globalisation. Even as international travel remains difficult, cross-cultural exchanges can allow people to gain greater appreciation for a country they have never been to. Such exchanges may build a much more solid foundation for trust than elite-driven economic engagement can.In this sense, cultural globalisation could rejuvenate the broader process of globalisation, proving that in its many different forms, globalisation remains as relevant as ever.