On August 20, the first anniversary of Black Myth: Wukong‘s release, Game Science unveiled the next chapter in its franchise during the Gamescom expo.
This time, however, attention was focused on the teaser for a new action title in development: Black Myth: Zhong Kui.
Over the past year, Black Myth: Wukong has become a milestone for China’s gaming industry. It sold 20 million copies in its first month and surpassed 30 million within its first year. The game broke records as the bestselling premium title in China’s history and the top-selling game globally in 2024. It also earned multiple award nominations and wins across international platforms.
Following its success, players began calling for downloadable content (DLC). While Game Science did not meet those requests at Gamescom, producer Feng Ji addressed the topic on Weibo. He revealed that the game’s success brought little lasting joy, describing feelings of emptiness and anxiety after completing a project nearly two decades in the making. Mounting pressure from players only intensified the creative void. Feng shared that, while he outwardly continued DLC work, he internally sought something new. A conversation with art director Yang Qi ultimately led to shelving DLC plans and initiating a new project.
Black Myth: Zhong Kui has only been in development for a few months, with no playable build yet. By releasing a trailer early, Game Science aims to maintain transparency and manage expectations, while echoing the studio’s strategy with the original Wukong teaser, which helped attract talent.
Has Black Myth: Wukong already fulfilled its mission?
Looking back, the answer seems clear. The game’s meteoric rise sparked a wave of interest that energized China’s gaming market. In its first week alone, sales topped 15 million copies and related videos on Bilibili neared 700 million views. A symphonic concert series based on the game sold out almost instantly, with tickets in scarce supply.
The game also became a commercial powerhouse. A collaboration with Luckin Coffee turned a themed latte into a top seller. Game merchandise frequently sold out shortly after launch. According to 36Kr, early co-branding opportunities commanded licensing fees ranging from hundreds of thousands to millions of RMB, with partnership deals spanning consumer electronics, gaming peripherals, food and beverage, and lifestyle products.
At Bilibili World 2025, Chow Tai Fook revealed that its jewelry collection co-branded with Black Myth: Wukong had surpassed RMB 1.5 billion (USD 210 million) in retail sales since its January launch, setting a new benchmark for collaborations between traditional jewelry and the gaming industry.
Beyond its commercial impact, Wukong also influenced cultural perceptions, highlighting the role of video games as both artistic expressions and cultural artifacts. Temples, statues, and historical architecture featured in the game became popular travel destinations. The tourism sector seized on this trend: during the 2024 National Day holiday, Shanxi reported a 46.9% year-on-year jump in visitors across 66 monitored scenic sites, totaling 7.84 million. Of those, 27 heritage sites featured in the game drew 1.89 million visitors and generated RMB 56.2 million (USD 7.9 million) in ticket sales.
Wukong’s popularity also inspired other Chinese developers to pursue console and high-end projects. Games like Wuchang: Fallen Feathers, Phantom Blade Zero, and Lost Soul Aside joined the wave. Larger firms followed suit, with NetEase teasing Blood Message and Tencent’s Aurogon announcing a new installment in the Swords of Legends series.
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Of course, developing blockbuster titles typically takes three to five years or more. Had Black Myth: Wukong not broken through, smaller studios might have struggled to gain attention or funding, while larger players may have remained focused on mobile and online markets. Wukong paved the way for a broader shift.
Now, Game Science turns its attention toward building a wider Black Myth universe, grounded in Chinese mythology. The upcoming title centers on Zhong Kui, a Taoist figure known for vanquishing demons. His image, traditionally displayed in homes to ward off evil, has endured through centuries of folklore and art. The teaser features him riding a tiger, taking reference from Ming-era depictions that are still reimagined by modern artists today.
Though the choice of Zhong Kui as protagonist represents a shift from the Journey to the West-inspired narrative of Wukong, the game remains rooted in mythologies familiar across East and Southeast Asia. Players responded positively online, though the reveal was somewhat anticipated as Game Science had already registered trademarks for Black Myth: Zhong Kui and Black Myth: Jiang Ziya, signaling its direction.
Feng noted that the new project would feature new visuals, technologies, and storytelling. “We’ll take bold risks, break conventions, and start from scratch,” he said. The studio has already rebranded its Bilibili account from “Black Myth: Wukong” to “Black Myth,” adopting Zhong Kui imagery and identifying it as the franchise’s official account.
A full release of Black Myth: Zhong Kui could still be several years away. But as Feng put it, “with the unknown comes surprise, and with challenge comes joy.” Until then, the spotlight turns to Zhong Kui as he carries the Black Myth torch forward.
KrASIA Connection features translated and adapted content that was originally published by 36Kr. This article was written by Liu Shiwu for 36Kr.