Dominic Lee says it’s not just a game, it’s a cultural statement, a testament to the power of storytelling that signals China’s expanding role on the global stage

In the realm of global entertainment, where the lines between culture, art, and technology blur, the success of the Chinese game Black Myth: Wukong stands out as a defining moment. Based on the legendary Chinese novel Journey to the West, this domestically developed AAA video game has captivated audiences worldwide, and not without reason. On its release day alone, the game drew in a staggering 2.2 million players on Steam, with total sales rapidly surpassing HK$6.5 billion ($828 million). Such figures not only demonstrate the game’s commercial success but also underscore China’s growing potential in cultural exports and its rising influence in the global gaming industry.

Developed by Game Science Studio, a company based in Shenzhen, Black Myth: Wukong represents China’s first foray into the world of AAA gaming — a category that denotes high-budget, high-quality productions requiring extensive development time. This game took six and a half years and nearly 400 million yuan ($51.33 million) to create, a massive investment that indicates the scale of ambition behind it. The stakes were high, and the risks even higher, as the gaming industry is notoriously unforgiving. For instance, Concord, a hero shooter developed by Firewalk Studios under Sony, was another high-budget game that failed to capture attention, peaking at just 697 concurrent players on Steam before being pulled from the market just two weeks after its launch. This stark contrast reemphasizes that success in this cutthroat industry is far from guaranteed, making the triumph of Black Myth: Wukong all the more noteworthy.

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The game’s success can be attributed to several factors, but at its core is the seamless fusion of traditional Chinese culture with modern technology. Rather than opting for a more familiar title like Monkey King, the developers chose the name Black Myth: Wukong, preserving the original Chinese name, “Wukong”, to maintain the essence of the character and story. This decision reflects a commitment to authenticity and a desire to present Chinese culture in a way that resonates with both domestic and international audiences.

In Black Myth: Wukong, players assume the role of a “chosen one”, embarking on a perilous journey filled with wonder and danger, reminiscent of the adventures in Journey to the West. The game is rich with Chinese elements, featuring traditional architecture, ancient artifacts, and historical legends. Characters from the novel, such as various demons, gods and Bodhisattvas, come to life in vivid detail, bridging a nearly 500-year gap between the classic text and the modern player. Many of the game’s settings are inspired by real locations in China, such as the famous tourist spots in Shanxi, Chongqing and Zhejiang, further intertwining the game with the country’s cultural and geographical heritage. This not only enhances the game’s authenticity but also promotes cultural tourism in these regions.

Recognizing the global appeal of its content, the developers ensured that Black Myth: Wukong is accessible to a broad audience by providing English subtitles and voiceovers. This thoughtful inclusion has earned the game high praise from international gaming media, which lauded it as “an enthralling journey through Chinese traditional culture”.

As a successful cultural export, Black Myth: Wukong offers valuable insights for investors and creatives alike. It not only proves that China’s gaming industry is now capable of developing world-class games, challenging the dominance of Japanese and American markets, but it also reveals the vast potential of Chinese cultural elements in the global marketplace. The game’s success demonstrates that when executed with care and creativity, Chinese culture can resonate deeply with global audiences, breaking through language and cultural barriers.

In truth, China’s rich cultural heritage offers a treasure trove of content that remains largely untapped in the global entertainment industry. Other Chinese classics such as Water Margin, Romance of the Three Kingdoms and Investiture of the Gods could easily serve as the foundation for films, games and other media, further showcasing China’s cultural soft power to the world.

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For the Hong Kong Special Administrative Region government, the success of Black Myth: Wukong should be seen as an unprecedented opportunity. By nurturing talent in technology, art and culture, the region could drive the development of these industries, bolstering its economic strength and global relevance. Supporting the creation of more culturally rich and technologically advanced products could very well be the key to unlocking a new phase of productivity and innovation in Hong Kong.

In an increasingly interconnected world, where cultural influence is as significant as economic or military might, Black Myth: Wukong stands as a beacon of what can be achieved when traditional heritage is merged with cutting-edge technology. It’s not just a game; it’s a cultural statement, a testament to the power of storytelling, and a harbinger of China’s expanding role on the world stage.

The author is a convener at China Retold, and a member of the Legislative Council, as well as the Central Committee of the New People’s Party.

The views do not necessarily reflect those of China Daily.