What makes Black Myth Wukong outstanding?
And how AAA games now are being redefined - by going back to fundamentals
Black Myth: Wukong has cracked the records and set the standards for AAA gaming. Player engagement is off the charts, with overwhelmingly positive reviews flooding in.
With over 500k positive reviews and a stunning 2 million players at its peak, China’s AAA game scene has set a precedent. Its also the #1 rated game in Steam history. Talk about a blowout and making history.
The statistics don’t lie on Steam:
In today’s article, I’ll explain why Black Myth Wukong had such a blow out. I’ll also discuss the factors that made it such a success. There’s 3 key points.
Compelling storylines rooted in culture
Focus on quality workflows.
Diverse teams innovate better.
These are fundamentals that have always powered game development. Which has been largely forgotten by AAA studio builders like Bethesda and Electronic Arts.
Which explains the shock that is rippling across the gaming industry:
While other studios have grown lazy and out of touch with what players crave, Black Myth: Wukong took it back to the basics. It didn’t just follow the old formula—it broke it. By combining real cultural stories with cutting-edge tech and a sharp plan, it delivered explosive results
So what can we learn from this? Lets start with a background on AAA games.
The AAA Game: Big Risk, High Reward.
Hard facts. AAA games aren't something you can just choose to make. They're tough to fund, needing huge budgets like big movies.
The development is intense, with no room for mistakes. It demands the best talent, the latest tech, and nonstop effort to succeed. They take by large R&D teams, with impressive budgets, long development cycles, and considerable financial returns, representing the highest level of technology and market appeal.
The Grand Theft Auto (GTA) franchise is a prime example: GTA 5 cost around $250 million, took five years to develop, and generated more than $1 billion in revenue within three days of release. Last year's official trailer for GTA 6 was only 1 minute and 30 seconds, and the title was neither skillful nor emotional, but it had more than 200 million YouTube views’
This is a normal AAA game. The market for a entire AAA game is even larger and more complex. They involve cutting-edge hardware, advanced graphics, and massive marketing campaigns. Every aspect, from how the game performs to how it's sold globally, is meticulously planned and executed.
With the support of huge game sales revenue and abundant financing channels, their investment in triple-A games in all aspects can be called luxury. A huge undertaking that can’t be done without significant support.
The complexity and long cycle of the above processes mean that the investment in triple-A game research and development is huge. Shawn Layden, the former CEO of Sony Interactive Entertainment, was concerned that the triple-A industry was unsustainable, and that excluding marketing costs, triple-A games would cost between $80 million and $150 million to produce in 2020.
For European and American companies, the production and distribution of triple-A games is a proven engineering process. Game Science was navigating unknown waters - and even more unknown workflows. It was a gamble.
This is different in Chinese market, however.
How is the Chinese Market Different?
In China, making games is different.
The R&D costs for high-quality mobile games range from 30 million to 100 million yuan. For general mobile games and mini-program games, it's even less—only 15 million to 30 million yuan. Even though maintaining these games can be expensive, top games often earn back their costs within the first month, even after paying the channels and operators.
The gaming market in China is also unique. In 2023, 75% of the revenue came from mobile games, while console games made up less than 1%. To put it in perspective, the entire console market in China makes about 3 billion yuan a year. But a popular mobile game from a big company can bring in over 4 billion yuan annually.
This focus on mobile games is clear in how developers work too. In 2023, many developers started making "Mini Program Games," and the market grew quickly. This means that even if a company spends a lot to make a AAA game, it's uncertain if enough players in China will be willing to pay for it.
For Black Myth: Wukong to emerge as a success in this environment is unusual. It had to compete in a market dominated by mobile games, where AAA titles are rare and often risky.
Game Science founder Feng Ji estimated that China's single-player game market was only $100 million at that time, about 1% of the United States market. However, was is confident in the scale development of domestic single-player player. Finally, at the urging of art director Yang Qi, the team began to work on the stand-alone project in earnest.
The game's success shows that there is still a place for high-quality, big-budget Chinese games in the world - even if the odds seem stacked against them.
So what makes Black Legend Wukong so different? And how did it disrupt a global gaming market so thoroughly?
1. Compelling Stories, Rooted in Legend
The most compelling stories transcend the bounds of culture, time, and place.
To bring out that unique compelling blend? They focused on three elements:
Visual
Cultural Ties
Storyline
Visual focused on immersion - not just fancy graphics.
Game Science didn’t just read Journey to the West—they immersed themselves in it. They traveled across China focusing on architecture, statues, and artifacts from temples and museums.
They created an experience that immersed yourself in the story - from visual elements to story in harmony with each other. Great game experiences visual effects don’t replace the story - they are visual representations of the soul of it.
Architecture was a huge priority, incorporating many traditional Chinese design elements, as thread by Momo describes so well:
They used 3D scanners to capture all of these too:
They focused heavily on traditional Buddhist influences and recreated 36 historical sites, particularly from Shaanxi Province. Every visual element—like stone carvings and grand temples—was crafted with cultural significance in mind.
This created not just a setting but a living world where the visuals and story breathe together, as if each temple wall holds the secrets of the Journey to the West.
Cultural ties helped add depth to the story.
Feng Ji’s vision was clear: create a global game rooted in traditional Chinese culture. - The team read the novel “Journey to the West” 100+ times, and visited countless cultural sites. Using this framework, they created a vision and collective creative direction.
And its tricky as Francis Chen points out:
The cultural depth of Black Myth: Wukong is like a master calligrapher at work, using minimal strokes to express immense meaning. But like a master calligrapher, takes years of practice and research.
This deep cultural immersion is what makes *Black Myth: Wukong* so authentic and gripping. The game isn’t just another title; it’s a living, breathing piece of history and myth.
This cultural grounding gives the game a massive edge. It lets the developers build a world that feels ancient yet timeless, packed with symbolism and meaning. The Buddhist elements add spiritual depth, while Chinese mythology weaves a rich tapestry of characters, stories, and settings.
Storyline
Clues are hidden everywhere, each story unfolding like a tale from Journey to the West. Each chapter ties to the novel and to each other. End-of-chapter music videos bind the player to the narrative, letting them walk in the footsteps of myth - while reflecting the Buddhist themes from Journey to the West.
This blend doesn’t just set Black Myth: Wukong apart in a crowded market—it makes it a magnet for players who crave something more. It’s not just visually stunning; it’s intellectually and emotionally engaging.
While other AAA games often struggle to stand out, Black Myth: Wukong taps into its deep cultural roots to create an experience that’s not just entertaining, but profound. It makes its mark not just as a game, but as a cultural milestone.
Story, history, and legend weave together in harmony. That’s the essence of timeless games: they captivate the mind, stir the heart, and leave echoes that linger long after the final scene. Its a lesson that any good game developer, artist, or creative director can learn from.
But no story is complete without good planning.
2. Deep Foundations, Smooth Workflows
Workflows were a key to the success of the game. With a 1/3 team of world-class triple-A games, Game Science had a harder and higher uphill battle than the average AAA studio you’d see at EA or Ubisoft.
They started with only 7 people - with diverse job histories. (More on that later)
Even with smaller team, Feng Ji and his team at Game Science was able to create a cohesive experience. Workflows and planning was needed to overcome these challenges. But it was Feng Ji’s approach to these workflows that’s decisive in their success.
In 2020, Feng Ji quoted the Italian writer Calvino in a Zhihu Q&A:
“我对任何唾手可得、快速、出自本能、即兴、含混的事物没有信心。我相信缓慢、平和、细水流长的力量，踏实，冷静。我不相信缺乏自律精神、不自我建设、不努力、可以得到个人活集体的解放。
English translation:
I have no confidence in anything that is readily available, fast, instinctive, improvised, and ambiguous."
I believe in the power of slowness, peace, and a long stream, steadfastness, and calmness.
I do not believe that the lack of self-discipline, self-construction, and hard work can be achieved through the liberation of the individual and the collective.
Quality remained the focus - while delivering results with a small team. Feng Ji, the founder optimized for strict workflow focus:
It is a manual work, manpower is tight, and there is a hidden danger of introducing new bugs if it is easily changed - completion is more important than perfection
This philosophy was embedded in the team's work processes, emphasizing careful, deliberate workflows as the foundation of their success:
Iterative AI development workflows were essential for creating adaptive enemies that could learn from player behavior. By building in a continuous loop of testing, prototyping, and refinement, the team ensured that AI systems were responsive and dynamic. This iterative approach allowed the AI to evolve, providing an engaging experience that would not have been possible with a more rigid process.
Motion capture workflows played a critical role in animating quadrupeds. Game Science used data from real animals, refining it through repeated cycles of simulation and review. This structured process allowed them to extract usable data and refine it daily, ensuring animations were lifelike without excessive manual adjustment. The workflow emphasized precision, reducing the need for human touch-ups and delivering natural motion in the game.
Research teams’ workflows were integrated into every step of development. The team engaged with cultural experts and conducted extensive research to ensure that the game stayed true to the Journey to the West narrative. This workflow involved multiple layers of review and collaboration, ensuring both authenticity and global appeal without sacrificing the integrity of Chinese cultural elements.
Visual optimization workflows were necessary to balance the use of advanced rendering technologies, like Nanite and Lumen, with the need for smooth performance. Game Science followed a process of constant testing and optimization to maintain high-fidelity visuals across various platforms. This structured workflow allowed them to push graphical boundaries while ensuring the game ran efficiently on different hardware configurations.
Daily review and refinement workflows helped maintain progress and quality control. Game Science built a feedback loop where every element, from simulations to prototypes, was reviewed on a daily basis. This regular, structured review process allowed for quick adjustments, keeping the project aligned with its vision while avoiding unnecessary delays.
These workflows helped Game Science overcome the challenges of a smaller team and limited resources, allowing Black Myth: Wukong to set new standards in both gameplay and visual design.
Check it out here how their motion capture team worked:
If new game developers focus on structured workflows, they can overcome the same challenges that Game Science faced, even with smaller teams and limited resources. Compare that to Bethesda, who’s still trying to figure out how make Starfield work.
The success of Black Myth: Wukong highlights that meticulous planning, iterative refinement, and a dedication to deliberate work can lead to world-class results, regardless of team size.
Feng Ji:
It is a manual work, manpower is tight, and there is a hidden danger of introducing new bugs if it is easily changed…completion is more important than perfection
This method of development — bold, systematic, and focused on deep foundations — emphasizes that shortcuts often lead to diminished quality. Instead, carefully crafting workflows that allow for constant testing, adaptation, and feedback loops ensures that a game can evolve dynamically. It can be refined into a product that resonates both visually and experientially.
For future game studios, the lesson is clear: invest in a culture that values thoughtful, long-term processes over quick wins. Even the smallest teams can rival the AAA giants, proving that the path to success is one of methodical, deliberate craftsmanship.
3. Diverse Minds, Singular Vision
Game Science started with a small team and had trouble finding the right talent.
Initially growing from 7 to 30 people, they still struggled to meet their staffing needs. To achieve their goals, Yang Qi tried to use "independent planning + resource outsourcing," but couldn't find a suitable outsourcing partner. In response, they released a trailer to attract talent.
Feng’s tech background and Yang’s art background were pivotal. Both had to juggle roles, from creative director to tech lead, which sharpened their talent search. Their hands-on experience helped them spot the right skills and build teams more effectively.
So when the 2020 trailer went viral, Game Science was in a great position to build up and scale. They received over 10,000 applications, selecting more than 140 people. This diverse group included not only programmers but also media, art, and even music students.
Much of the time the team was trying to figure out things as they went along, requiring a multiple go to market strategy:
Yang and Feng referred to themselves as “two drowning rats,” showing how challenging this process was. They learned on a job - but were true to the creative vision and made sure the team was on board.
Creating an AAA game product isn't just about technical skills. It also requires good design, visuals, music, scripts, and a compelling story and worldview. Game Science built a team of artists, musicians, and even business students, all contributing to the game’s development.. Each part is important, and none can be left out.
But it was their program and product management that aligned these diverse talents toward a common goal. By creating clear workflows and managing resources effectively, they directed talent to produce a unified, high-quality product.
Strong leadership and unified creative vision can elevate even small teams to compete - and beat - industry giants.
What does this mean?
Chinese gaming now has unprecedented momentum. That’s going to be the big strategic competitive edge in a very crowded AAA game market. We’ll see more coming - especially with the approval of more AAA games.
Here’s 4 things to understand:
Chinese AAA gaming will be a market disruptor. Companies like EA and Activision Blizzard have grown stale, recycling old ideas and leaning heavily on microtransactions as their primary revenue drivers. Meanwhile, Chinese studios are bringing fresh storylines and creativity. With the recent approval of more AAA games in China, we’re going to see a wave of innovation. Global studios will need to adapt or fall behind.
Quality > Quantity
Recent releases like Starfield show the risks of rushing a game, leading to buggy and inconsistent player experiences. Developers focusing on quality prioritize delivering a well-crafted experience over frequent, flawed updates. Each game is polished and stands the test of time without constant patches or fixes, giving players a solid product from day one.Clear creative vision = better games
A focused creative direction leads to more immersive games. Teams that stay true to a unique vision avoid formulaic design, resulting in memorable and engaging experiences. When creativity and innovation drive the process, games stand out in both story and mechanics, offering something truly fresh to players.Talent isn’t prestige – it's perspective
Real innovation comes from diverse perspectives, not elite credentials. Bringing together people from various backgrounds creates unique ideas that push the boundaries of game design. It’s about what each team member contributes creatively, not where they studied, and this diversity fuels innovation, leading to more original and compelling games.
Before then, if you have any questions or comments, feel free to comment and follow me on X:
Game Science achieved several notable milestones with the success of Black Myth: WuKong:
1. The game elevated the standards for Chinese animation, with its cutscenes being praised by foreign players.
2. In contrast to companies like Tencent and Netease, Game Science developed the game with a small, entirely local team, avoiding the use of overseas studios or foreign talent.
I like the focus on management of production here. Video games is a collaborative art work, moreso than film and thus it actually requires much more scrutinize management of production to achieve anything. The problem with many Western game studios, the big ones esp, is that there are just way too often manpower bloat as I see it. To make things worse, constant lay off so investor can gain bigger dividend means a lot of gained live-experience from developing games just got lost and the studio basically reset itself. There's no continuity in Western cultural production these days and it just turned into self-swallowing Ouroboros of constant production of rehash and remakes.