Road to Empress: palace intrigue game sweeping Korea

Road to Empress I has been a hit in Korea since September and once topped Apple’s paid chart. It remains one of the five best-selling games as of December. Courtesy of X account of Road to Empress/New One Studio

Poisoned bread and gruel, or starvation — Road to Empress I turns simple choices into life-or-death gambles. In one sequence, players could die in three different ways after being sent to the dungeon for wearing a “flashy outfit.”

Road to Empress (or Seongse Cheonha in Korean), a Chinese-made interactive palace intrigue game, has taken Korean gamers by storm, with many applauding its immersive, interactive, innovative and easy-to-play nature.

Since the release of its first part in early September, Road to Empress has been a particularly big hit in Korea, driving significant livestreaming activity by gamers on YouTube, once topping the nation's Apple App Store paid chart and remaining a top 5 seller into mid-December.

Produced by China’s New One Studio, the two-part game is a narrative role-playing game set in the 618-907 Tang Dynasty, inspired by the true story of Wu Zetian, China's only female emperor.

It features a branching narrative structure, where players’ choices in dialogue, actions and quick-time events heavily impact the path of the story branches and characters’ fates.

In the game, Wu Yuanzhao (based on Wu Zetian) begins her journey from a modest position, navigating a power struggle and surviving the harsh environment of the palace with its strict rules. Wu Yuanzhao also has to use her remarkable intelligence and talents to choose the right paths that do not lead to bad endings.

It is a story built on mistakes and second chances, with every wrong decision moving players toward one of over 100 possible endings — many of which culminate tragically in Yuanzhao’s untimely death.

But the game design keeps the bad endings from being too discouraging, as players can quickly retry from a nearby branching point. With short video segments that can be easily skipped or fast-forwarded, the game removes the pressure of overthinking decisions, allowing players to correct their mistakes without frustration.

Road to Empress has received nearly 1,000 positive reviews in Korean and 800 in English, achieving an “Overwhelmingly Positive” rating on Steam. Courtesy of X account of Road to Empress/New One Studio

Word of mouth within Korea helped the game gain a growing local following. Park Jae-hyun, a 37-year-old office worker in Seoul, said he began playing after learning that a popular Korean YouTuber, ChimChakMan, had tried it.

“Since many games already focus on European history, the real charm of this title is that it lets you naturally learn about Eastern history instead,” Park said.

“It also becomes more engaging because it introduces many real historical sources during gameplay, even though some fictional elements are mixed in with the story.”

Park added that the game’s simple mechanics make it accessible and enjoyable for players of all ages and backgrounds. Adding to the fun is the thrill of exploring the story’s branching paths and uncovering the many different endings shaped by player choices.

According to an online game review published on Brunch, the appeal of Road to Empress comes from the “transformation of the linear ending” of traditional historical narratives, turning it into an interactive experience. Players are not just mere observers of the game, but the participants, the review added.

“The game breaks free from these constraints, allowing players to explore the question: ‘What if she had made different choices?’” wrote the review, adding that the game gives players a chance to step outside the confines of history.

Another review posted on Naver said that the game consists of beautifully shot live-action scenes, “making it incredibly immersive,” and satisfies players with “great filming quality and excellent performance of actors.”

Huang Gejun, assistant professor of media and communications at the Xian Jiaotong-Liverpool University in China’s Jiangsu province, said that the game’s historical background and palace setting resonate more easily with Koreans, as many K-dramas also have similar elements.

“The game’s success is also built on the foundation established by the growing global popularity of Chinese web novels, which have gained significant traction overseas. While the xianxia (meaning ‘immortal heroes’) genre remains highly popular, palace intrigue stories have also cultivated a strong audience,” said Huang, who specializes in the gaming industry and cultural policy.

The game offers a branching narrative structure, allowing players to shape the story’s direction through their in-game choices. Courtesy of X account of Road to Empress/New One Studio

The rising global popularity of Chinese historical dramas is another key factor drawing international players to the game. Since the late 2010s, high-quality productions such as Empresses in the Palace, Story of Yanxi Palace, and Eternal Love have captivated audiences across Asia with their elaborate costumes and compelling storylines.

Park echoed that point, saying that he became curious after reading a review saying that the game evokes Empresses in the Palace, which he enjoyed a lot.

The interactive game, with a second part to be released, taps into the rising trend of “short-form dramas,” featuring over 1,200 minutes of footage and more than 400 interactive moments throughout its storyline.

Huang added that Road to Empress can inspire the short-form drama industry by incorporating interactive features and producing interactive game-style short-form drama. With China's abundant resources — a skilled workforce, advanced technology, diverse filming locations and ample funding — the country is well-equipped to excel in developing interactive short-form drama, he said.

“Currently, most short-form videos don’t support interactive features that combine gaming. However, if such functionality becomes available, it will undoubtedly spark the next major trend,” he added.

Alyssa Chen is a reporter with the South China Morning Post. She is currently based in Seoul, writing for both The Korea Times and the South China Morning Post under an exchange program.