INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025
Page 3097
www.rsisinternational.org
Explore the Potential Benefits of Popularizing Ink Wash Painting Art
Style in Video Games
Siti Madihah Binti Zulkiflee, Aimi Nabila Binti Anizaim*
Faculty of Film, Theatre and Animation, Universiti Teknologi MARA
*
Corresponding Author
DOI: https://dx.doi.org/10.47772/IJRISS.2025.910000248
Received: 06 October 2025; Accepted: 12 October 2025; Published: 10 November 2025
ABSTRACT
This research explores the use of ink wash painting art style in video games, focusing on how its elements are
implemented and what potential benefits it will offer. The objectives of the study are to identify the core elements
of ink wash painting art style, analyze how these elements are represented in the existing games, and justify the
advantages of using the style in modern game design. The research involves qualitative analysis of selected
games including Okami (2006), Thousands Layered Edge (2021) and Tensei (2024) This research aims to
contribute to broader discussions on the integration of cultural art styles in contemporary game development.
Keywords: Art Style, Ink Wash Painting, Video Games
INTRODUCTION
Video games first appeared as an entertainment platform to showcase technological capabilities, focusing mainly
on gameplay due to hardware limitations. As technology advances, developers began exploring other elements
such storytelling and visual design and exploring more innovative ideas to enhance their video game quality
(Rechsteiner, 2020) Among these, art style has become a key factor in shaping a game’s identity. Art style is
important not only in shaping the game looks, but also how players feel about the game world and characters
(Garver, 2018). As technology evolved, video games art style has changed from pixelated graphics to 3D
photorealistic. The emergence of 3D graphics in the 1990s expanded visual possibilities, enabling an immersive
world with realistic textures and lighting. However, in the 2000s, many developers began shifting away from
realism to explore more on stylized art style for more artistic expression. For example, games like Borderlands
which use cel-shaded techniques and Okami which feature images reminiscent of ink wash paintings. This offers
a visual distinctive and culturally inspired as alternatives to realism (Konstantinov,2023).
According to Sundkvist (2022), stylized art styles include all non-realistic art styles, which can be expanded into
more subtypes such as cel-shading, hand-drawing and stylized realism. Despite this wide variety, traditional art
styles remain underused in modern games, as most developers tend to favour realism or cartoonish stylization.
Ink wash painting, rooted in East Asian art tradition, has appeared in games since the early era of 3D. However,
it was often applied only partially rather than as a fully integrated style, such as for visual effects or to evoke a
sense of East Asian cultural authenticity. It wasn’t until the release of Okami in 2006 that the ink wash painting
style was fully embraced and popularized, as it was fully integrated into both gameplay and visuals. Since then,
only a few games like Thousands Layered Edge (2021) and Tensei (2024) have embraced the style more
completely.
Titles
Year
Country
Steam Reviews (as
of 8 May 2025)
Google Play user
rating (as of 8
May 2025)
Okami
2006
Japan
Very Positive (7456)
n.d
Drift Sumi-e
2010
n.d
n.d
n.d
Sumioni: Demon Arts
2012
Japan
n.d
n.d
SumiKen: Ink Blade Samurai
2017
Malaysia
n.d
n.d
INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025
Page 3098
www.rsisinternational.org
Thousands Layered Edge
2021
Indonesia
n.d
n.d
Tensei
2024
Japan
Positive (45)
n.d
Figure 1. List of Games Featuring Ink Wash Painting Art Style (2006–2024) and User Review
While stylized art styles are widely used in the game industry, traditional art styles such as ink wash painting
remain underrepresented. As shown in Figure 1, only a limited number of titles have adopted this style over the
years. Despite the critical acclaim of Okami, later games that use similar styles have received little attention.
This decline raises concern that traditional art styles in games may be overlooked or slowly disappear form the
industry. Therefore, this study aims to explore how this style is represented and what potential benefits it can
offer if more widely used in game design.
This research aims to explore the potential benefits of popularizing the ink wash painting art style in video games
by examining its distinctive artistic qualities and cultural significance. The study first seeks to identify the
fundamental elements that characterize the ink wash painting tradition, including its visual techniques and
aesthetic principles. It then analyses how these elements have been adapted and represented in existing video
games, highlighting the ways in which the art style contributes to narrative expression and immersive
experiences. Building upon this analysis, the research ultimately justifies the potential benefits of incorporating
the ink wash painting art style into video games, arguing that its implementation can enhance visual diversity,
promote cultural appreciation, and provide players with unique aesthetic engagement.
LITERATURE REVIEW
On this chapter, a summary and analysis on existing studies been reviewed to establish the foundation for this
research.
Elements Of Ink Wash Painting
Ink wash painting is a traditional East Asian brush painting style that originated in China and uses only black
ink in varying concentrations This variation is achieved by adjusting the proportion of ink to water and brush
pressure, allowing artists to create different textures, tones, and depths on surfaces like rice paper or silk (Wang
et al., 2018; Yan et al., 2022). Xuan paper, known for its absorbency, contributes to natural ink diffusion and
essential trait of this art style (Dong et al., 2012). Artists often aim to capture the essence of a subject rather than
realistic detail (Kuismin, 2020). Abstraction and stylization are key characteristics, influenced by oriental
calligraphy and the expressive use of lines (Li, 2014; Cahill, 1987). Unlike Western art traditions that prioritize
realism or objective form, ink wash painting expresses symbolic and intuitive meanings through minimalism,
fluid strokes, and changing ink tones to reflect nature and inner emotion. Gu et al. (2016) describe three main
drawing techniques in ink wash painting: contouring (outlining forms), colouring (using stippling and washes),
and texturing (to portray surfaces like rocks). Among these, contouring and colouring are the most common. The
art form also uses simplified lines and stylized shapes over intricate detail to suggest materials. For instance,
thick lines for rough objects and soft blurred strokes for fabric or foliage. Finally, negative space is a key feature
used to create balance and atmosphere. Leung (2014) notes that this "breathing room" between brushstrokes
contributes to harmony and visual rhythm. Overall, ink wash painting blends expressive brushwork, abstraction,
and symbolic representation to convey a subject’s energy and spirit.
Representation Of Ink Wash Painting Art Style in Video Games
According to Gavin (2014), Okami is one of the purest examples of traditional art and storytelling in a modern
video game. It mimics the traditional Japanese art of sumi-e through its gameplay mechanic called “Celestial
Brush” where it can be used in combat and to interact with the play environment. Weber (2022) states that Okami
illustrates its sumi-e style through its contrast between bold dark brush strokes and colours, adding personality
and passion to the game. Ferrer (2017) adds that Okami uses abstraction through simplified faces, exaggerated
silhouettes, and stylized anthropomorphic forms. This abstract approach aligns with the game’s folktale-based
narrative, making the story feel ancient and timeless.
INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025
Page 3099
www.rsisinternational.org
Benefits Of Using Ink Wash Painting In Video Games
Li (2014) explains that Chinese painting uses abstraction and minimal imagery to express harmony between
subject and object, reflecting the ever-changing nature of ink wash. Leung (2021) adds that its focus on nature
evokes spaciousness and peace, connecting external scenes with inner emotions. This aligns with Taoist and Zen
ideals of spontaneity and unity with nature. Li Jin et al. (2024) highlights that brush ink animation helps preserve
cultural heritage by drawing from traditional East Asian art, while also offering aesthetic appeal through its
organic, expressive, and visually unique brushwork.
METHODOLOGY
The purpose of this research is to explore the potential benefits of popularizing the ink wash painting art style in
video games by combining a two‐phase qualitative methodology with a clear conceptual framework. In Phase I,
content analysis of credible sources including articles, journals, and books to identify the elements of ink wash
painting. In Phase II, a case study through gameplay observation of Okami, Thousands Layered Edge, and Tensei
examined how these elements were implemented through various aspects in games. By mapping the elements
identified from literature onto their in-game representations, this research provides insight into how brush
control, ink concentration, and abstraction contribute to enhanced gameplay, enriched visual storytelling, and
deeper cultural expression.
Figure 2. Summary of Method
Figure 3. Conceptual Framework
INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025
Page 3100
www.rsisinternational.org
ANALYSIS AND FINDINGS
According to scholars, extensive explorations of ink wash painting elements within the existing literature were
meticulously categorized using distinct keywords. Through a rigorous data analysis process, a comprehensive
set of seven keywords emerged: brush control, texture, ink concentration, abstraction, black ink, symbolism, and
negative space.
No
Title
Author/s
Keyword/s
Characteristic/s
1
Growing a digital ink wash
painting tool
Liao &
Chien
(2025)
- Black ink
- Ink concentration
- Brush control
- Abstraction
The authors emphasized that ink wash painting
artists will use black ink brush pens to paint by
controlling ink density and brush stroke as well
compositions. The
2
The Horizons of
Watercolor Painting
Creation:Watercolor and
Ink Wash in the Chinese
Context
He
(2025)
- Symbolism
- Brush control
- Ink concentration
- Ink wash concept involves both technical and
cultural and philosophical meaning
- Artist uses vary brushstrokes and ink tones to
create “dense and misty” atmosphere which
convey an elusive colour effect
3
The Enlightenment and
Influence of Chinese
Painting on Animation Art
Hou
(2024)
- Brush control
- Abstraction
- Negative space
- Symbolism
- The strong lines in Chinese painting can express
the essence of objects while also conveying the
artist's emotions and personality, allowing
viewers to connect with the deeper meaning
behind the painting
- The distinctive use of empty space adds a sense
of space and layers which encouraging
imagination and creating the feeling that the
empty space of the painting hold beauty as well
- Chinese ink painting often assigns specific
meanings to certain colours, emphasizing their
symbolic importance.
4
Interactive Digital
Innovation and Design of
Ink and Wash Landscape
Art
Dou &
Meng
(2024)
- Ink concentration
- Brush control
- Texture
- Abstraction
- Use different tones of ink to express different
brushstrokes and techniques. For example, light
ink to outline the contours of mountains, rocks,
trees, and thicker or burned ink for rubbing,
shading, and stippling.
- Different brushwork can show different texture
to different object which make the painting looks
three-dimensional
- Focus on pursues artistic conception and
emotional expression and attention to the overall
atmosphere and charm of the picture
5
A non-photorealistic
rendering method
based on Chinese ink and
wash painting style
for 3D mountain models
Yan et,
al. (2022)
- Brush control
- Texture
- Ink concentration
The brushstrokes will look different depending on
the surface of the material used such as silk and
rice paper. Different ink concentrations also give
variations in tone between black and white.
6
Two Sides of Landscape in
Ink-wash Painting: Chinese
Landscape Painting in
Expressive Arts Practice
Leung
(2021)
- Black ink
- Brush control
- Abstraction
- Symbolism
- Ink concentration
- Texture
- Objects drawn using different line strengths and
techniques can give different effects. For
example, strong black lines and dotted
brushstrokes suggest a mountain or hard rock.
- The life, spirit, and mind of the painter are
revealed in a symbolic way on paper
- Different calligraphy lines make it look
expressive and can be a language for someone's
beliefs.
INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025
Page 3101
www.rsisinternational.org
- It also focuses on the interaction between water,
ink in the brush on the paper.
7
Creating Okami Inspired
Shader
in Unity’s Shader Graph
Kuismin
(2020)
- Black ink
- Brush control
- Ink concentration
- Abstraction
- Sumi-e painter uses only black ink or varying
shades of grey by varying the brush pressure and
toning down the ink density.
- Painting in Sumie style is not just about tracing
the appearance of the subject, it is about capturing
its deepest essence.
8
Ink Wash Painting Style
Rendering with Physically-
based Ink Dispersion
Model
Wang et
al.
(2018)
- Black ink
- Ink concentration
- Texture
- Ink wash painting is a type of brush painting
style originating in China that only uses black ink
in various concentrations
- Artists use different shades of black colour to
paint different scenes on the rice paper.
9
Ink-painting Animation by
Geometry Buffer Based
Real-time 3D
Rendering
Gu et al.
(2016)
- Ink concentration
- Black ink
- Abstraction
- Brush control
- Texture
- Ink drawing is a picture that represents the shade
of an object with black ink drawing on white
paper.
- The object is drawn with abstract lines and
surfaces.
- The thickness of the lines is adjusted according
to the fine or rough surface material
10
A study of how Chinese ink
painting features can be
applied to 3D scenes and
models in real-time
rendering
Cao
(2016)
- Brush control
- Ink concentration
Refining brush movement and ink flow is the core
of the Chinese ink painting development.
11
Image-based Ink Diffusion
Simulation and 3D Chinese
Wash-ink Paintings
Rendering
Li & Bai
(2015)
- Ink concentration
- Brush control
- Abstraction
- Chinese ink painting uses monochromatic colour
with different concentration and tone of water and
ink. It also uses strong water absorption paper to
let the ink penetration form a unique diffusion
effect.
- There are two different ink wash styles: 1.
GONGBI focuses on painting finely with
meticulous brushworks and emphasizes realism
on daily life objects. 2. XIEYI painting is
generally painted with rugged brushwork without
details, and more focus on expression of painter’s
inner emotion and personalized style instead
replication of appearance of the objects painted
12
Establishment of Meaning
of Ink Wash Painting in
Modern Times: Evolution
of
Chinese Ink Wash Painting
as a Formal Language of
Oriental Figure Painting
Li (2014)
- Abstraction
- Symbolism
- Ink concentration
- Brush control
- Abstraction in Chinese painting give experience
the process of realizing the truth which conveys
the life awareness of perfect harmony of subject
and objects
- Expressive brushstrokes cause infinite
possibilities of colour gradients
- Simple lines and ink changes are used to evoke
the viewer's intuition and emotions, reflecting
instinctive abstraction and signifying the freedom
of ink wash painting.
13
Stroke-based Real-time
Rendering of Ink Wash
Style for Geometric Models
Xu et al.
(2012)
- Abstraction
- Ink concentration
- Brush control
- Texture
- Ink wash painting aims to present the soul of the
subject rather than depicting its appearance and
shape
- Artists use brush with varying mixtures of ink
and wash to express diverse properties of the
subject.
INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025
Page 3102
www.rsisinternational.org
- Four key techniques used in this art style: 1.
Contouring, involved in creating silhouette of
objects using dark and thick ink. 2. Texturing, use
a dry brush to create details on surfaces such as
cracks or grains to show softness or stiffness. 3.
Colouring, shade objects with light ink to suggest
illumination. 4. Dotting: adds small, abstract
marks to represent elements like moss or trees,
adding liveliness to landscapes such as rocks and
mountains.
14
Real-time image-based
chinese ink painting
rendering
Dong et
al. (2012)
- Brush control
- Abstraction
- Ink concentration
- Black ink
- Negative space
Chinese ink painting key features are ink brushes
which render a variety of strokes, abstractions
where details are generally ignored, ink diffusion
and monochromatic colour, primarily black and
white. Also, empty space is used with the using of
deep black ink and white as free space
15
Ink-and-wash painting
based on the image of pine
tree using mean curvature
flow
Yang et
al. (2012)
- Symbolism
- Abstraction
- Brush control
Ink wash painting landscapes represent a theme of
natural scenery using ink with various
brushstrokes which shows the principle of
harmony by letting the subject reinterpret it by
feelings of mind and body. It has aesthetic beauty
of space by simplifying the real whole view
abstractly and omitting unnecessary objects.
Figure 4. Keyword Summary of Elements of Ink Wash Painting Written by Experts and Scholars
Author
Keywords
Brush
Control
Texture
Ink
Concentration
Abstraction
Black ink
Symbolism
Negative Space
Liao & Chien (2025)
✓
✓
✓
✓
He (2025)
✓
✓
✓
Hou (2024)
✓
✓
✓
✓
Dou & Meng (2024)
✓
✓
✓
✓
Yan et al. (2022)
✓
✓
✓
Leung (2021)
✓
✓
✓
✓
✓
✓
Kuismin (2020)
✓
✓
✓
✓
Wang et al. (2018)
✓
✓
✓
Gu et al. (2016)
✓
✓
✓
✓
✓
Cao (2016)
✓
✓
Li & Bai (2015)
✓
✓
✓
Li (2014)
✓
✓
✓
✓
Xu et al. (2012)
✓
✓
✓
✓
Dong et al. (2012)
✓
✓
✓
✓
✓
Yang et al (2012)
✓
✓
✓
14
6
13
11
6
5
2
Figure 5. Most Frequently Mentioned Elements of Ink Wash Painting Art Style in Previous Studies
INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025
Page 3103
www.rsisinternational.org
According to table 3, the most frequently mentioned elements of ink wash painting art style are brush control,
ink concentration and abstraction. The table below explains the definition of each element.
Elements
Definition
Brush control
Brush control refers to the artist’s ability to manipulate the brush to create a variety of
strokes, textures, and expressive lines. It involves mastering the pressure, angle, speed, and
movement of the brush.
Ink Concentration
Ink concentration refers to the varying shades of black and grey achieved by controlling the
amount of water mixed with the ink. It ranges from deep black to light grey tones.
Abstraction
Abstraction in ink wash painting involves simplifying or stylizing forms to capture the spirit
or essence of the subject, rather than its realistic appearance.
Figure 6. Definition of the Most Frequently Mentioned Elements in Previous Studies
Brush control
Figure 7. Okami (2006) Celestial Brush Mechanics (left) & Fighting Scenes in Thousands Layered Edge (2021)
In Okami (2006), brush control elements are applied through both its visual graphics and gameplay. The game
uses cel-shading and irregular-weight black outlines to mimic hand-drawn brush strokes. Its “Celestial Brush”
mechanic allows players to draw symbols to activate powers, such as drawing a circle to summon the sun or a
single stroke to cut objects. This simulates the control and feel of using a real brush. Similarly, Thousands
Layered Edge (2021) adopts irregular brush-like outlines in its visuals. In terms of gameplay, it uses gesture-
based mechanics where players swipe in specific directions to dodge or attack, mimicking brush movements and
transforming combat into an expressive brushstroke-inspired experience.
Ink Concentration
Figure 8. Tensei (2024) Title Menu (left) and Thousands Layered Edge Gameplay (right)
In Tensei (2024), ink concentration element is reflected in the game’s monochromatic palette, which consists
primarily of black, white, and grey. Instead of using a wide range of colours, the game creates spatial depth
through variations in ink density. For instance, lighter, washed-out tones are used in the background to evoke
mist and distance, while darker, more saturated ink is applied to foreground elements to bring them forward.
Similarly, Thousands Layered Edge (2021) applies ink concentration to establish depth. The game uses darker,
more concentrated ink in the foreground and lighter tones in the background. This visual layering technique
mirrors traditional ink painting methods, creating atmospheric perspective without relying on the Western
approach to linear depth.
INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025
Page 3104
www.rsisinternational.org
Abstraction
Figure 9. Okami (2006) Environment (left) & Tensei (2024) Environment (right)
In Okami (2006), abstraction reflected in its visual design, where details are replaced with expressive shapes.
For example, mountains are drawn with flowing, bold lines to convey strength, while cherry blossom trees use
circular forms and calligraphic curves instead of realistic flowers. Line thickness also conveys meaning. For
example, solid objects feature strong strokes, while delicate elements like leaves use thinner lines. Water, fire,
and wind are depicted without outlines to represent their impermanent nature, contrasting with the defined forms
of solid objects. This approach aligns with Taoist values of simplicity, harmony, and the natural flow of life.
Tensei (2024) also embraces abstraction through minimalist gameplay and nature-inspired visuals. The player
progresses by jumping across platforms and avoiding obstacles while the environment changes with each
milestone. The game begins in grey tones and gradually shifts through the colors of spring, summer, autumn,
and winter. These seasonal transitions reflect the natural cycle and atmosphere without relying on detailed
representation, staying true to the essence of abstraction found in traditional ink wash painting.
After analyzing how brush control, ink concentration, and abstraction are represented in several games, we can
now explore the potential benefits of using the ink wash painting art style in video games.
a) Enhanced Gameplay Mechanics and Interaction
In Okami, the Celestial Brush allows players to interact with the world by drawing strokes to solve puzzles or
battle enemies. By replicating the real act of brush painting, this mechanism provides an interactive experience
that turns visual art into video games. As players’ actions instantly affect the game environment, it not only
promotes creative problem-solving, it also offers the players a sense of control and immersion. Similarly, in
Thousands Layered Edge, players need to perform slash gestures on mobile screens to defeat enemies. This
mechanic replicates the real act of brush painting, offering an interactive experience that transforms visual art
into gameplay. By employing brush control into the core gameplay, Okami and Thousands Layered Edge
successfully blur the boundaries between visual art and player input, providing a distinct and meaningful
interaction that goes beyond typical button-press mechanics.
b) Enhanced Visual Appeal
Tensei used varying black ink concentration to build spatial depth. Lighter ink is used to create misty or distant
backgrounds, while darker more concentrated ink brings foreground objects forward which mimics traditional
spatial techniques. According to Li (2014), these changes in ink intensity not only create depth and texture but
also contribute to the overall atmosphere of the scenes. By adapting these traditional methods, games like Tensei
are able to deliver a unique visual experience that emphasizes elegant visuals and atmosphere. As a result, the
use of ink concentration enhances the game’s artistic appeal and distinguishes it from other conventional art
styles that rely on realistic shadings or photographic details.
c) Promote Culture
Abstraction in ink wash painting focuses on simplification and symbolism rather than realistic representation.
This is deeply rooted in Taoist and Zen Buddhist philosophy which values harmony with nature and the flow of
simplicity (Li, 2014; Leung, 2021). In games like Okami and Tensei, this philosophy is visually present in their
minimalistic forms, nature-based backgrounds, and absence of unnecessary details. This abstraction aligns with
INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025
Page 3105
www.rsisinternational.org
the Taoist idea of appreciating nature not as it looks, but as it feels. According to Li (2014), abstraction lets
players reflect and interpret, offering a cultural and emotional layer to the gaming experience. By avoiding
photorealism, abstraction helps games carry deeper meaning, fostering cultural preservation and philosophical
storytelling. Furthermore, the nature-focused design of these games contributes to a calming and reflective
atmosphere, enhancing the player's emotional engagement through peaceful environments and gentle pacing.
CONCLUSION
Through the analysis of Okami (2006), Thousands Layered Edge (2021), and Tensei (2024), it is evident that the
core elements of ink wash painting, which are brush control, ink concentration, and abstraction, are effectively
represented in video games through gameplay mechanics, visual aesthetic and philosophical and symbolic
expression Brush control is reflected in interactive mechanics like Okami’s Celestial Brush and Thousands
Layered Edge’s slash gestures, offering players an engaging experience that mimics real brush strokes. Ink
concentration enhances the visual depth and atmosphere in games like Tensei, using tonal variations to suggest
distance and emotion, staying true to traditional painting methods. Finally, abstraction, in both Okami and Tensei,
simplifies form to express essence, drawing from Taoist principles of harmony and nature, and bringing cultural
and philosophical depth into gameplay. These implementations not only preserve the artistic essence of ink wash
painting but also introduce unique benefits to game design such as enriched gameplay interaction, distinctive
visual appeal, and the promotion of traditional values and cultural identity in modern video games, proving the
style's relevance and potential in modern video games.
ACKNOWLEDGMENT
I would like to thank my advisor, Ts. Aimi Nabila Anizaim and my Lecturer, Ts. Dr. Hafizah Rosli for the
guidance and support throughout this research. Their expertise, insightful feedback, and encouragement has
helped the development of this paper. Additionally, I would like to express my gratitude to my classmates for
their collaborative spirit and shared insights, which have contributed to the collective success of this research
endeavour. I also wanted to express gratitude to the family and friends for their emotional support and
encouragement during the research journey.
REFERENCES
1. Cahill, J. (1987). (Y. Li Trans.), History of Chinese painting. Taipei Lion Art.
2. Cao, M. (2016). A Study of How Chinese Ink Painting Features Can Be Applied to 3D Scenes and
Models in Real-Time Rendering.
3. https://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=1784&context=open_access_theses
4. Dong, L., Lu, S., & Jin, X. (2012). Real-time Image-Based Chinese Ink Painting Rendering. Multimedia
Tools and Applications, 69(3), 605–620. https://doi.org/10.1007/S11042-012-1126-9
5. Dou, Z., & Meng, G. (2024). Interactive Digital Innovation and Design of Ink and Wash Landscape Art.
2024 13th International Economics, Management and Education Technology Conference.
https://webofproceedings.org/proceedings_series/ESSP/IEMETC%202024/C27.pdf
6. Ferrer, M. L. (2017). Representations of Japan by The Video Game Industry: The Case of Okami from
a Japanophile Perspective.
7. https://trepo.tuni.fi/bitstream/handle/10024/102559/1513600271.pdf?sequence=1
8. Garver, S., Adamo-Villani, N., & Dib, H. (2018). The Impact of Visual Style on User Experience in
Games. EAI Endorsed Transactions on Game-Based Learning, 4(15), 153535.
https://doi.org/10.4108/eai.5-1-2018.153535
9. Gavin, E. (2014). Press Start: Video Games and Art. https://portal.lvc.edu/vhr/articles/gavin.pdf
10. Gu, Y., Ono, N., & Urahama, K. (2016). Ink-painting Animation by Geometry Buffer Based Real-time
3D Rendering. International Conference on Intelligent Systems, 477–482.
https://doi.org/10.12792/ICISIP2016.084
11. He, J. (2025). The Horizons of Watercolor Painting Creation: Watercolor and Ink Wash in the Chinese
Context. Journal of Computing and Electronic Information Management, 16(1), 70–73.
https://doi.org/10.54097/wv1cf136
INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025
Page 3106
www.rsisinternational.org
12. Hou, Q. (2024). The Enlightenment and Influence of Chinese Painting on Animation Art. Journal of
Education Humanities and Social Sciences, 46, 117–123. https://doi.org/10.54097/ztj8s487
13. Konstantinov, P. (2023, June 2). Game Style Creation: Video Game Art to Inspire You in 2023.
RetroStyle Games. https://retrostylegames.com/blog/game-style/
14. Kuismin, A. (2020). Creating Okami Inspired Shader in Unity’s Shader Graph.
https://www.theseus.fi/handle/10024/349171
15. Li, X. (2014). Establishment of Meaning of Ink Wash Painting in Modern Times: Evolution of Chinese
Ink Wash Painting as a Formal Language of Oriental Figure Painting. Studies in Literature and Language,
8(3), 152–155. https://doi.org/10.3968/5113
16. Leung, W. (2021). Two Sides of Landscape in Ink-wash Painting: Chinese Landscape Painting in
Expressive Arts Practice. 6(2), 209–220. https://doi.org/10.15212/CAET/2020/6/23
17. Li Jin, E., Harun, A., & Nasir, M. N. F. (2024). Exploring the Enchanting Fusion of Brush Style
Animation and Chinese Ink Painting in Modern Filmmaking. International Journal of Academic Research
in Business and Social Sciences, 14(2), https://doi.org/10.6007/ijarbss/v14-i2/20792.
18. Li, D.-J., & Bai, C.-J. (2015). Image-based Ink Diffusion Simulation and 3D Chinese Wash-ink Paintings
Rendering. https://www.wseas.com/journals/computers/2015/a705705-536.pdf
19. Liao, Z.-Y., & Chien, S.-F. (2025). Growing a digital ink wash painting tool. ADADA+CULUMUS
2022: International Conference for Asia Digital Art and Design 2022.
https://doi.org/10.2139/ssrn.5190685
20. Rechsteiner, A. (2020, January 29). The History of Video Games. Swiss National Museum - Blog.
https://blog.nationalmuseum.ch/en/2020/01/the-history-of-video-games/
21. Sundkvist, N. (2022). How to Enhance Your Game with Visual Style Choices. Metropolia University of
Applied Sciences https://www.theseus.fi/bitstream/handle/10024/753398/Sundkvist_Nathan.pdf?se
22. Weber, A. (2022). Press Any Button to Get Started: Approaching Japanese Culture and Society Through
Video Games. East Asian Studies Honors Papers. 4. https://digitalcommons.ursinus.edu/eastasia_hon/4/
23. Wang, Y., Li, W., & Qing, Z. (2018). Ink Wash Painting Style Rendering with Physically-based Ink
Dispersion Model. Journal of Physics: Conference Series 1004(1), 012026. https://doi.org/10.1088/1742-
6596/1004/1/012026
24. Xu, T.-C., Yang, L.-J., & Wu, E.-H. (2012). Stroke-Based Real-Time Ink Wash Painting Style Rendering
for Geometric Models. In Proceedings of SIGGRAPH Asia 2012 Technical Briefs (Article 19, pp. 1–4).
Association for Computing Machinery. https://doi.org/10.1145/2407746.2407765
25. Yan, M., Wang, J., Shen, Y., & Lv, C. (2022). A Non-Photorealistic Rendering Method Based on Chinese
Ink and Wash Painting Style For 3D Mountain Models. Heritage Science, 10(1), 1–15.
https://doi.org/10.1186/s40494-022-00825-z
26. Yang, I., Yu, Y., & Lee, D. (2012). Ink-And-Wash Painting Based on the Image of Pine Tree Using
Mean Curvature Flow. Proceedings of the 11th ACM SIGGRAPH International Conference on Virtual-
Reality Continuum and Its Applications in Industry, 189–194. https://doi.org/10.1145/2407516.2407564