Recently, Game for Peace has once again dominated social media. With the "#Funtime" landing in Chongqing, walking through the city means seeing "Battle Royale" on the ground, on the walls, and in the sky, with "Battle Royale" elements stereoscopically covering the entire mountain city. Players check in for "Battle Royale" offline and share "Battle Royale" online, with heat spreading from offline to social platforms, and related topics consecutively topping trending lists.
Both offline and online organic heat demonstrate that the term "Battle Royale" has burst out of the game, becoming Game for Peace's cultural foothold in reality.
The term "Battle Royale" is a "code" that all Game for Peace players understand. Strangers who originally didn't know each other can break the ice and become friends because of "Battle Royale." This can happen in any social setting: a freshman's dormitory, a company team-building dinner, or even a first blind date. Saying "I also play Battle Royale" can quickly close the distance between people.
In other words, "Battle Royale" has long become a nationally popular social currency. No matter which city or social circle, throwing out the phrase "Battle Royale" will always find someone who can join the conversation. The reason the "#Funtime" sparked nationwide attention is not just because the event itself was well-organized, but because it tapped into a common language shared by players.
Therefore, behind the heat of the "#Funtime," what deserves our attention more is how Game for Peace uses "Battle Royale" culture to build strong emotional connections among players, the game, and partner locations.
If we only look at Chongqing's "#Funtime," it's easy to interpret this event as a one-off explosion of an offline activity for Game for Peace. But in reality, this is just another instance of "Battle Royale" culture stepping into the real world. Looking at the offline events hosted by Game for Peace in recent years, we can see that the game has woven a dense "Battle Royale Map" across dozens of cities nationwide, spanning commercial centers, landmark buildings, and cultural tourism attractions.
Last month, the 2026 Game for Peace PSI Finals and the annual trendy show of the Thrill Airdrop Festival, "Thrill Night," was grandly held at the Shenzhen Sports Center. As the first large-scale offline game fashion show in China, "Thrill Night" is now in its third consecutive year. Headlined by an all-star lineup including Hua Chenyu, Song Qian, Tian Xiwei, and Wu Lei, with over a hundred cosplayers performing on and off stage, it brought an audio-visual feast to the audience.
Data shows that the "2026 Thrill Night" involved a total of 2,509 influencers, reached 167 million live viewers across the web, generated 558 trending topics on all platforms, and achieved a staggering total playback volume of 6.7 billion. This series of data and trending topics is sufficient to prove that Game for Peace possesses mass influence spanning multiple circles.
Also in the second quarter of this year, the Game for Peace 7th Anniversary Carnival came to Changsha, turning the entire city into a "trendy pain city" for Battle Royale players. The 2026 summer "Summer Adventure" brought gameplay modes and in-game landmarks like "Giant Ship Island," "Ancient Tomb Maze," and "Metro Escape" to the Wuhan International Expo Center, Shenzhen's Minghua Wheel, and Changbai Mountain in Jilin, respectively. At the end of 2025, Harbin Ice and Snow World created a "Real-Life Extreme Cold Experience Zone," during which offline visitor traffic to Harbin's five major attractions and the Ice and Snow World across two districts exceeded 30 million...
It can be seen that the focus of Game for Peace's offline activities has never been limited to a few first-tier cities, but spans across China from east to west and north to south—from the eastern coast to the northeastern hinterland, from the central core to southwestern hubs, the footsteps of "Battle Royale" have traveled throughout China. Moreover, beyond popular cities and tourist attractions, Game for Peace has also made its presence felt in some lower-tier towns and villages. As of 2025, the Game for Peace Village Tournament has covered 1,340 towns and villages, reaching over 11.43 million people, contributing to connecting urban and rural areas and promoting local economic development and cultural dissemination.
For players in different regions, Game for Peace's "multi-point blossoming" execution strategy is not only "visible" but also "tangible." With event locations at their doorstep, players do not need to bear high costs for long-distance travel and accommodation to participate. They can step into an offline carnival dedicated to their circle anytime, anywhere, and communicate face-to-face with fellow enthusiasts about their gaming experiences. Even if they cannot attend in person, location-based content dissemination makes it easier for local players to feel immersed, spontaneously forwarding and discussing on social platforms, allowing event heat to spread from local areas to the whole country.
However, "high quantity" and "wide coverage" are just one advantage of Game for Peace's offline activities. The specific execution capability is the "soft power" accumulated by Game for Peace through years of offline operations.
Current game products are keen on holding offline activities; to some extent, offline events have become a common method for games to expand their real-world influence. However, how to execute offline activity content well has always been a challenge. If the execution form merely involves setting up some game scene elements on-site, check-in interactions often stop at mere "check-ins," where people take a photo and leave, without forming a strong association with the venue or game content. Players' participation experience feels more like going through the motions, failing to truly feel the unique charm created by the collision of the game IP and offline scenarios, making it difficult to leave lasting memories and influence after the event ends.
But in Chongqing's "A Day of Battle Royale," we can see the ingenuity of deeply integrating game content with local characteristics.
Chongqing has cultural tourism hotspots like "Landing Visa" and local crossover brands like Zhang Xue Motorcycles, which perfectly accommodate the vehicle culture from the game. Combined with classic equipment symbols like the "Level 3 Helmet," the "#Funtime" compresses sightseeing check-ins and immersive game-related experiences into the same space.
The Thrill Night follows the same logic. It brings in-game characters, skins, and stage scenes into reality, with over a hundred cosplayers performing on and off stage, corresponding to the characters players know by heart. Here, the game and reality collide directly. For passersby, this might just be a trendy performance with an impressive lineup; but for Game for Peace players, every game element filling the stage is an "exclusive code" understood only by insiders. While watching the show, they also reminisce about their own gaming journey. This immediate resonance makes it hard for players not to feel a sense of belonging to Game for Peace.
Players participating in offline activities can enjoy the event itself while resonating with the "Battle Royale" culture, achieving "two wishes satisfied at once." Many passersby at the event site wanted to experience the local cultural tourism projects featured in the activity, but through the connections made at the event, they ultimately gained an understanding of "what Battle Royale is" and developed an interest in "Battle Royale" culture.
In addition, Game for Peace continues to cover areas of interest to players in different cities, with different content and collaborations, constantly enriching the ways the game connects with the real world.
The Macho New Star Cup Finals brought "esports" to Dongguan. In public perception, this might not seem like a good choice—the Macho New Star Cup is not a large-scale tournament, and Dongguan does not have much experience hosting esports competitions.
However, with nearly 60,000 attendees over two days and over 250 million exposures online, it demonstrates that the esports culture of "Battle Royale" does not belong exclusively to a few major cities, and the depth of penetration for mass esports events is sufficiently high; it just hasn't found suitable outlets in many regions. The Macho New Star Cup brought professional competitions to local players, allowing them to participate in esports right at their doorstep. On the other hand, the successful hosting of the Macho New Star Cup also created a new cultural label for the city, showing more people that Dongguan can accommodate the trendy esports culture loved by young people.
The large-scale offline exhibition "Virtual-Real Symbiosis" held in Shanghai represents another direction of expansion—bringing in-game clothing, art, and design into reality, responding to players' pursuit of "beauty," "trendiness," and even "art." Here, "Battle Royale" is no longer just a synonym for tactical shooting, but has become a more diverse cultural symbol.
This leads to a further question: How does Game for Peace perfectly integrate its game IP with offline scenarios, creating a unique charm through their collision?
The answer lies in the fact that Game for Peace has formed a sufficiently mature yet "unconventional" offline execution model, always coming up with new tricks for each event.
The core of this model is first to accurately identify the integration points between game elements and offline scenarios. Last winter, Game for Peace launched seasonal ice and snow maps and gameplay, while Harbin happened to have an extreme cold climate and the popular tourist landmark "Ice and Snow World." Thus, this collaboration placed the "Real-Life Extreme Cold Experience Zone" within the Ice and Snow World, bringing the game scenes experienced by players online into reality simultaneously.
On the other hand, Game for Peace can also provide targeted gameplay content based on the venue and "Battle Royale" culture. In the winter version, the memorable scene of "getting knocked down while picking up an airdrop in the snow" is a shared memory for all players. Game for Peace replicated this famous scene in the offline "Real-Life Extreme Cold Experience Zone." When players experience it personally, this specific scene triggers memories, associating them with exciting moments they experienced in matches, naturally linking the emotional connection between the game and reality.
More importantly, the advantage of Game for Peace's model lies in the fact that these offline activities stem organically from memes and content within the gameplay itself, making them inseparable from "Battle Royale" culture. They have no barrier to understanding and possess viral potential for dissemination. After visiting offline spots, players naturally have the desire to share check-in photos and feel a sense of ritual. Game for Peace's activities provide them with more interesting content to share.
This is precisely why Thrill Night could top over 500 trending topics, why Harbin's five major attractions and the Ice and Snow World across two districts could break through with a cumulative 30 million visitors, and why the Dongguan Macho New Star Cup could attract nearly 60,000 attendees. These figures not only indicate that "the events were well-organized," but further demonstrate that Game for Peace has evolved from a game product into a cultural carrier of players' collective memories.
Over seven years, Game for Peace has grown into an evergreen game. During this year's Spring Festival, its DAU surpassed 90 million, refreshing its national popularity with a daily active user scale approaching 100 million. Data from the past year shows that Game for Peace remained in the top three of the iOS App Store's top-grossing games chart for over 65% of the time, topping the chart multiple times. Such impressive results confirm that after more than seven years of operation, Game for Peace still retains a massive user base and achieves long-term stable commercial performance.
When players are willing to step out of their homes, check in, share, and spontaneously discuss "Battle Royale," it indicates that "Battle Royale" has long spilled out of the screen, becoming part of young people's lifestyles, their social language, and identity. The cycle from game to reality and back to the game is a manifestation of Game for Peace's ability to continuously transform game content into cultural influence. In this cycle, the location, format, and specific content of activities may be borrowed and replicated, but the cultural accumulation formed by "Battle Royale" together with players over seven years is the core brand asset that cannot be replicated by others.
It is precisely the "Battle Royale" culture that allows Game for Peace to maintain strong player appeal, enabling every event to generate organic dissemination and every update to spark nationwide discussion, keeping it firmly in the position of "top tier in the shooting genre" after seven years of operation.