Upon its release on Aug 20, Chinese mainland video game Black Myth: Wukong achieved blockbuster sales and continues to attract millions of players online today. The game is based on the Chinese classic novel The Journey to the West, with the “chosen one” (the player) embarking on a journey to the West in the footsteps of the Monkey King, although this time, instead of fetching sacred scriptures, the “chosen one” is to collect the scattered “six senses” (eyes, ears, nose, tongue, body, and mind) of the Monkey King from six demon bosses. In doing so, the “chosen one” transcends himself and becomes the new Monkey King.
Since its release, the game has sparked widespread discussion among players globally and earned a rare appraisal from Xinhua News Agency for being a “phenomenal product”. International gaming authorities have awarded the game AAA rating, a title only awarded to a few games each year that have production costs exceeding $100 million, taking at least five years to develop and achieving ideal results upon completion, leading Black Myth to be hailed as the start of a “Triple-A year” for Chinese online games.
The development cycle of Black Myth spans seven-plus years. Reports indicate that the team’s founder embraced a departure from the prevailing “speed-over-quality” mindset in the mainland gaming market. Instead, the team dedicated seven years to meticulously crafting top-tier game quality. Trailers released over the past few years captivated a large number of mainland players, possibly contributing to the game achieving over a million downloads on its first day of release.
The game’s scenes can be described as exquisite, with 3D rendering technology immersing players in a world reminiscent of ancient mountains, temples, and kingdoms with vivid details. The moment the players launch the game the real world vanishes, and undivided attention then is given to the protagonist, the “chosen one”, as he travels between the Western Regions and the Central Plains, between heaven and earth.
Among the many noteworthy character designs, one that stands out is the headless Lingji Bodhisattva, a design that perfectly blends the ethnic styles of Turpan with the ethereal and minimalism spirit of Buddhism. Players’ admiration for this design sparked discussions about cultural relics lost overseas in China’s early modernization process during the Qing Dynasty (1644-1911) and the Republic of China period, to the extent that the Chinese Academy of History had to clarify on Weibo that “there is no decapitated Lingji Bodhisattva in reality”.
Cultural confidence a new dimension of competitive edge
As per the spokesperson of the Ministry of Foreign Affairs, Black Myth provides a new way for global players to understand Chinese culture. Media on both sides of the Taiwan Strait have also praised the success of Black Myth at home and abroad as a showcase of China’s “soft power”.
In 2014, China initially introduced the notion of “cultural confidence”, underscoring the significance of upholding a unique cultural identity while leveraging the guiding, unifying, transformative, and influential essence of Chinese culture. This concept has now found vivid expression in Black Myth. The game’s inception revolves around a contemporary and rebellious interpretation of one of China’s four great classical novels, The Journey to the West. Its current supremacy in the fiercely competitive global gaming sphere showcases the radiance and influence of traditional Chinese culture.
We are currently in an era marked by rapid technological advancement. Within this context, cultural influence is poised to emerge as a pivotal dimension for any global power. At the 2024 Paris Summer Olympics, French people vividly showcased to a worldwide audience their profound cultural confidence in French ideals that passionately embrace romance, diversity, equality, and freedom. Fearlessly, they presented their unique perspectives, aesthetics, and core values on the grand stage of the Olympic Games. The world marveled at the depth and intensity portrayed in a performance set against the backdrop of a section of the Seine River and several bridges in Paris, a city steeped in a profound heritage of architecture, literature, religion, politics, art, and fashion. In their epic presentation, we witnessed many classic symbols of French culture, including not only luxury goods, the Eiffel Tower, and Notre-Dame, but also Da Vinci’s Mona Lisa, the novels of De Maupassant and Hugo, and the classic French play The Phantom of the Opera.
The triumph of Black Myth may stand as a prime example to ignite the growth of Hong Kong’s local creative industries. Hong Kong has long been defined by its distinctive cultural identity and a wealth of cultural, artistic, and cinematic legacies, brimming with culturally significant characters and symbols esteemed within the global Chinese community. Leveraging modern technology, there lies the potential for us to cultivate a billion-dollar “classical cultural metaverse economy” rooted in Hong Kong’s cultural heritage.
For instance, the enchanting martial arts realm crafted within the 14 bestselling novels by Louis Cha Leung-yung, known by his pen name Kam Yung (or Jin Yong in Putonghua), stands as one of Hong Kong’s most significant cultural assets. These works represent an unrivaled pinnacle of Chinese martial arts novel creation. If we were to progressively metamorphose the characters and intricate narratives from Jin Yong’s martial arts novels into a metaverse, unfolding stage by stage and volume by volume, we could perhaps create masterpieces on par with Black Myth, thereby generating substantial economic and cultural impacts for Hong Kong.
The rich and profound cultural heritage of Hong Kong’s film and television industry can also provide deep creative inspiration for the city’s cultural and gaming industries. As a city where East meets West, Hong Kong’s unique urban landscapes across different historical periods have been repeatedly featured by generations of filmmakers worldwide. Whether it’s Hollywood blockbusters like Transformers and Batman filming in Hong Kong or Ang Lee’s 2007 film Lust, Caution, they all showcase Hong Kong’s unique cultural charm.
When it comes to local producers and stars, comic series by Stephen Chow Sing-chi wield considerable influence across the mainland, Taiwan and beyond. Meanwhile, icons like Bruce Lee and Leslie Cheung Kwok-wing stand out as some of the most prominent figures in the Chinese film industry. In the same vein, the lead actresses of the immensely popular TV series New Legend of Madame White Snake, which holds as much acclaim on the mainland as the 1986 CCTV rendition of The Journey to the West, are both native Hong Kong talent, Angie Chiu Ngar-chi and Cecilia Yip Tung. The enduring tale of the Green Snake and White Snake boasts a robust fan base, presenting ample space for derivative works. This narrative realm potentially signifies yet another avenue that the Hong Kong video gaming industry could explore and capitalize upon.
In the music scene, Hong Kong led the development of the Chinese pop music industry for nearly 30 years, especially in the 1980s and 1990s. Hong Kong hosts a long list of some of the most prominent and brightest pop music stars within the global Chinese community. Just to name a few: George Lam Tsz-cheung, Priscilla Chan Wai-han, Beyond, Lin Xi, Anita Mui Yim-fong, Jacky Cheung Hok-yau, Andy Lau Tak-wah, Aaron Kwok Fu-shing, Leon Lai Ming, Wakin Chau, Sammi Cheng Sau-man, Eason Chan Yick-shun, Coco Lee, Faye Wong, Joey Yung, Twins, Karen Mok. These luminous stars embody the collective memories of Chinese pop music for generations across the mainland, Taiwan, Hong Kong, Macao and worldwide.
Now, how to effectively utilize these literature, film and music legacies seems to be a pressing issue for the city’s cultural and technological industries. The emergence of Black Myth may serve as a reminder that instead of nostalgically reminiscing about the past golden era of superstars, Hong Kong should think progressively about how to revitalize its rich and influential cultural heritage with modern technologies.
The author is a program director at HKU SPACE and a practicing lawyer in China and the US state of California.
The views do not necessarily reflect those of China Daily.
