On August 20th, Black Myth: Wukong, China’s first AAA game, topped global pre-order charts, showcasing rich Chinese cultural elements, and marking a significant milestone in the global expansion of Chinese games. The game received a perfect 10/10 rating from IGN China, and upon its official release across major platforms, related discussions quickly soared to the top of global trending topics.
So, what exactly is Black Myth: Wukong, and is the extensive hype and attention truly warranted?
First and foremost, Black Myth: Wukong is the first AAA game ever produced in China. For decades, the Chinese AAA game market has remained largely unexplored. Against this challenging backdrop, a newly established small company in Hangzhou, China, called “Game Science,” announced in 2020 that they would create the first domestically produced AAA game.
In fact, since the release of the first teaser video in August 2020, Black Myth: Wukong has ignited the expectations of both Chinese and global players for what is considered the first truly domestically produced AAA game.
As of now, the official game account has attracted 3.5 million followers, and the video has set a record with over 56 million views on Bilibili. Many players have left comments on the video, with phrases like “The place where dreams begin” flooding the screen.
Additionally, Black Myth: Wukong has made a remarkable impact in both global capital and gaming markets.
Since pre-orders began on June 8th, Black Myth: Wukong has sold 1.2 million copies within a month, generating nearly 400 million RMB in revenue, securing the top spot globally during that period. The game also ranked first in 12 regions, including the United States, Singapore, Thailand, Canada, Brazil, and Italy. According to Steam’s official download statistics, within less than four hours of pre-loading, the game’s download bandwidth usage on Steam surged, reaching a peak of 70Tbps, setting a new record for bandwidth usage on the platform.
As of the early hours of August 17th, Black Myth: Wukong received an average rating of 82 from 52 global media outlets on the renowned review site MetaCritic. GamingBolt, God is a Geek, GamersRD, and China’s gaming site GamerSky all awarded the game a perfect score. Additionally, eight other outlets gave it a rating above 90 (or 9 out of 10).
As a result, Wukong has also conveyed and shared more significant meanings and experiences from China.
As the first major AAA game produced in China, Black Myth: Wukong delivers aesthetics, themes, and cultural elements that are authentically “Chinese.”
Black Myth: Wukong is an action RPG set against the backdrop of the Chinese mythological tale Journey to the West. In the game, players take on the role of a “Chosen One,” embarking on a journey full of adventure and wonder to uncover the truth behind ancient legends. Journey to the West, as one of China’s earliest and most integrated mythological novels, combines elements of Confucianism, Buddhism, and Taoism. It presents a world where humans, demons, insects, gods, and ghosts coexist, offering ample room for interpretation, with each person able to derive a unique worldview.
The game skillfully weaves this mythological system into its narrative, seamlessly incorporating diverse cultural elements from China. This not only enriches the game’s visual experience but also eases the potential “cultural shock” for international players, enhancing the depth of their cultural experience.
Moreover, Black Myth: Wukong meticulously crafts natural landscapes that capture the essence of Chinese aesthetics, faithfully recreating ancient Chinese architecture within the game. Shanxi Province, known as a “treasure trove of ancient Chinese architecture,” served as one of the game’s shooting locations. Cultural landmarks such as Xiaoxitian, Yuhuang Temple, and Iron Buddha Temple have been brought to life through 3D modeling, allowing global players to explore these historical sites within the game.
Last August, Black Myth: Wukong made its international debut by winning the Best Visual Effects award. At Gamescom in Germany, which attracted 1,220 game exhibitors from 63 countries and regions and 300,000 visitors, Black Myth: Wukong emerged as the most popular game.
On-site photos of the Cologne Game Show in Germany
International gaming media expressed their excitement on-site, stating: “Black Myth: Wukong showcases the artistic design of the Eastern world, creating a unique worldview.”
However, much like the challenges faced by Sun Wukong and his companions on their journey to retrieve sacred texts, the emergence of Black Myth: Wukong has also been met with criticism and attacks from some Western anti-China voices. Certain Western media outlets have even dredged up decade-old social media posts from the game’s creators—posts that had long been deleted—or criticized the game for not featuring more female protagonists or for not allowing players to choose Sun Wukong’s gender, accusing it of gender discrimination.
Regardless of how the original team’s years-old, deleted comments have been taken out of context or why these old issues have been resurrected after so many years, one might question whether there is jealousy or resentment towards China’s breakthrough in the AAA gaming sector, with some seizing this opportunity to undermine the game’s success. Before attempting to critique a Chinese game through the lens of Western ideology, perhaps these arrogant media outlets should take the opportunity provided by Black Myth: Wukong to learn about traditional Chinese culture and the origins of the Journey to the West story.
Sun Wukong, who was born from a stone with no parents, cannot be defined by gender, so where does the accusation of gender discrimination come from? Moreover, if we consider the time when Journey to the West was created, five centuries ago, Western society was still mired in a colonial era marked by extreme gender inequality, where women were often relegated to romantic roles in novels. In contrast, Journey to the West had already introduced numerous vivid and powerful female characters, even depicting a matriarchal kingdom like the “Kingdom of Women.” The world created in Journey to the West is one where, regardless of gender or race, only morality and strength matter. Some Western media, however, choose to evaluate Black Myth: Wukong through their own lens of arrogance and prejudice, ignoring the reality that this beautifully crafted game has captivated players worldwide. Does this not reveal their own ignorance and narrow-mindedness?
As Black Myth: Wukong gains explosive popularity globally, some individuals have deliberately tried to politicize what is meant to be a form of entertainment, disrupting the gaming environment with forced “political correctness.” But as Gabe Newell, founder of Valve, once said, “Games should first and foremost be games; politics and other topics can be left to other platforms.” Great games also require a healthy gaming atmosphere, which each of us as players must actively uphold.
While it may be too early to declare Black Myth: Wukong an unqualified success, it has undoubtedly achieved an initial victory—one not only of technical prowess but also of cultural and aesthetic triumph. The game’s producer, Feng Ji, once said in an interview, “The journey to retrieve the scriptures is more important than reaching the sacred mountain.” Similarly, the road ahead for the development of Chinese games is full of limitless possibilities.