This study analyzes the evolution of the concept and representation of “Muhyeop” in Korean Muhyeop games from 1989 to 2013. The purpose of this research is to examine the concept of “Muhyeop” and its representation in Korean games, and to reveal how Muhyeop and games intersect and undergo changes. The primary goal is to emphasize the uniqueness of Muhyeop games in Muhyeop studies and determine their position. The research results indicate that the concept and representation of “Muhyeop” in Korean Muhyeop games can be divided into three periods. Firstly, from 1989 to 2001, the focus was on simulating Muhyeop through games. MMORPG developers attempted to represent Muhyeop through continuous training, skill learning based on personal stories, and random elements. Secondly, from 2002 to 2009, the direction of Muhyeop game representation shifted from simulation to fictional representation with a Chinese or Eastern-themed background. This change was influenced by the contact with the Chinese market, where games set in Korea or virtual continents were categorized as fusion fantasy or oriental fantasy games for commercial reasons, thus embodying the concept of Muhyeop as an Oriental fantasy. Despite attempts to simulate Korean Muhyeop, games set in ancient China gradually came to be called “Muhyeop games.” Lastly, from 2010 to 2013, “Muhyeop games” were classified as games set in a virtual Eastern world. During this period, due to changes in the Chinese market, Chinese elements were removed, and there was an emphasis on representing Muhyeop within a virtual Eastern space. Additionally, with an aging user base and the need to compete with Muhyeop games from China, game developers focused on visually representing Muhyeop to attract new users. Muhyeop movies were often referenced, and the “Muhyeop games” of this period were characterized by free movement, a virtual Eastern setting, and exaggerated action, rather than philosophy or norms.
In conclusion, the relationship between Muhyeop and games within the concept of ‘Muhyeop games’ has been characterized by conflict. Initially, Muhyeop representation was predominantly led by other mediums such as novels, films, and comics, but later the convenience and commercial viability of games took precedence. Moreover, during the process of game development aimed at entering the Chinese market, the concept of ‘Muhyeop games’ underwent a separate and transformative process from the demands of the Korean market, ultimately being accepted as a distinct characteristic of Korean martial arts games and recognized by players. This demonstrates that the genre distinction of ‘Muhyeop games’ not only designates a subject and serves as a means to share conventions with users but also functions as a commodity. The notion of ‘Muhyeop games’ continually evolves and transforms into a convenient form for consumption, although subject to changes in consumer preferences.