The industry-eyed game masterpiece "Black Myth: Wukong" is about to be released on August 20, and before that, both hot searches and capital markets have set off several rounds of climaxes.

As the only purely domestic triple-A game masterpiece in China, "Black Myth: Wukong" not only makes the majority of Chinese gamers feel "raised their heads", but also a big shock to the industry.

First of all, "Black Myth: Wukong" broke the "monopoly" and "myth" of European and United States triple-A games for a long time, and IGN China directly gave a full score of 10.

In addition, IGN headquarters also gave a high score of 8.0, which is already a high-quality triple-A masterpiece.

Among them, the reviewer mentions:

"Goku is one of the most beautiful and engaging games I've ever seen...... The indentations formed in real time on the snow by dragging the Zen stick while walking are all lifelike. ”

"The soundtrack and sound design are equally remarkable, with the deafening drumbeats of the battle as the main melody and the elegant flutes and wind chimes as the accompaniment of exploring the unknown, creating just the right amount of atmosphere."

In addition, GameRanx's evaluation is that the game is full of surprises, and minor flaws can't hide the game's excellence.

The two points deducted by IGN headquarters are mainly due to the fact that there are still minor bugs in the game, and overseas reviewers do not understand the storyline and historical background of Journey to the West.

So some reviewers mentioned: I am very confused if I can't understand the story, and I need to make up for it in advance.

And this is precisely the second meaning of "Black Myth: Wukong": games go to sea and culture go to sea.

Prior to this, Black Myth had made news because of its rejection of the blackmail of overseas game media SWEETBABY.

At that time, some overseas game media took the stick of "political correctness" to criticize "Black Myth: Wukong", saying that there were no female characters and discrimination.

Fortunately, many overseas players who have tried and experienced "Black Myth: Wukong" have opposed it and justified the name of the Chinese game.

This also shows that if China's game industry wants to go global, it does have to accept a lot of so-called general rules in order to pass on Chinese culture to some people with completely different values and cultural backgrounds.

This is unfair, but it is also a reality.

In fact, this is not only the dilemma faced by Chinese games going overseas, but also the common dilemma of Chinese industry and Chinese culture going overseas.

If you want to occupy other people's markets, you have to pay more time and cost to cultivate.

For example, new energy vehicles have been deployed in overseas markets for several years, changing the minds of local consumers.

If you don't promote your own baby, you will be promoted by others.

Ironically, many European United States people are exposed to Chinese culture from Japan games.

For example, the "Three Kingdoms" and "Three Kingdoms Matchless" series gloriously launched by Japan game manufacturers have a profound impact on the world's gamers and industries.

There are even European and American manufacturers who have made "Total War: Three Kingdoms".

"Three Kingdoms" is China's IP, but I have to say that it is precisely the small day enterprises that tell the story of the Three Kingdoms well.

Japan's game and manga manufacturers have been sending anime, games, and manga overseas for decades, and they have today's status, so much so that when the prime minister participates in the closing ceremony of the Olympics, he will personally COS Super Mario characters.

Therefore, the significance of "Black Myth: Wukong" is not only to make a good game, stimulate consumption, and strengthen the industry's momentum.

More importantly, he told the story of China overseas, invisibly, spreading Chinese culture and Chinese pattern.

For a long time, many Chinese cultural IPs have always been alienated in the hands of foreign manufacturers, and they cannot convey their true spirit.

And this time, "Black Myth: Wukong" is original, and Chinese talk about Chinese things.

It does not fully cater to the likes of Europeans and Americans, nor does it have the various game cultures that Europeans, Americans, and Japan have done in the past few decades that contain elements of Journey to the West.

Whether from the perspective of China's cultural output, cultural self-confidence, or industrial upgrading, "Black Myth: Wukong" is a well-deserved "new quality productivity".

Through a game, we can comprehensively display traditional Chinese philosophical thoughts, aesthetic tastes, religious culture, as well as mythology, architecture, sculpture, painting and other aspects of literary and artistic concepts.

At the same time, some ancient buildings, cultural relics, and tourism departments can also use "Black Myth: Wukong" to create digital boutiques and regain their dazzling charm.

Wu Xiangjun found that in recent years, with the advancement of technology in the domestic game market, there have been many excellent works with good appearance and gameplay, and there are more and more new works exposed by Sony's PlayStation "China Star Project".

I believe that with the success of "Black Myth: Wukong" and the boost of the industry, more and more Chinese game companies will come forward to change the industrial pattern and change the narrative description of Chinese through games.

Of course, our biggest obstacle in the process is not the bias of foreign media.

It's their own stagnation.

Once upon a time, the game industry has been bombarded, what loses the spirit of struggle, and what makes people sink their will.

Ironically, it is the person who says these words who also holds a mobile phone every day, and the short video is swiped for hours.

I didn't see the significance of the game industry for "telling Chinese stories well", "spreading Chinese culture", and "driving a large number of industries".

Take Tencent's "Honor of Kings" as an example, many overseas players know that Chinese characters such as "Xiang Yu" and "Wu Zetian" are recognized through games.

Tencent also proposed at the China-US E-sports Exchange Forum:

"Raise China's voice on the world e-sports stage, build Chinese brands, spread Chinese culture, and demonstrate China's strength. ”

In the process of globalization of domestic games, the biggest differentiation and competition point lies in "Chinese culture".

For example, in 2022, the Sanqi Mutual Entertainment game team invited experts from the field of Peking Opera protection to integrate Peking Opera elements such as "Haunting Heavenly Palace", "Bailiangguan" and "Changban Slope" into the game, and through the gameplay called "Changyin Pavilion", the classic repertoire, character masks, oil paint makeup and other Peking Opera content are combined with the "Matching" gameplay, so that players around the world can feel the charm of China's quintessence in the game process.

If Chinese culture wants to succeed overseas, it is not something that can be completed by one industry and one company.

Referring to Japan's experience, this requires the integration of more industries to make the cake bigger.

And this is the biggest inspiration for Chinese games represented by "Black Myth: Wukong" to go overseas today.

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