Rebirth 2010: I taught Mr. Lei how to make a mobile phone

Chapter 974 Games are for playing

As the popularity of "Black Myth: Wukong" continues to expand beyond its original niche, more and more players are finding that many scenes in the game seem familiar.

Some researchers have found that the map design draws heavily on real historical sites: Shisi Temple in Lishui, Zhejiang; Dazu Rock Carvings in Chongqing; and Kaiyuan Temple in Quanzhou.
Shanxi province alone contributed 27 filming locations, such as Foguang Temple, Nanchan Temple, and Jingge Temple in Wutai Mountain, Xinzhou; Qinglian Temple in Jincheng; Erxian Temple in Xixi, Lingchuan; and Yuhuang Temple in Zezhou, among others.
The collaboration between the virtual world and real-world scenic spots has boosted tourism to these cultural heritage sites, and local cultural and tourism departments have also taken advantage of the opportunity to promote them, demonstrating the enormous cultural influence of games.

Black Myth: Wukong continues to be a global hit, and the Journey to the West story, Eastern mythology, Chinese civilization and ancient sites behind it are also beginning to spread widely, truly achieving a leap from a game product to a cultural phenomenon.

This even attracted attention and interest from the official level.
One day at the end of November, accompanied by Chen Mo, chairman of the Beyond Group, several leaders entered the Game Science Studio.

This is the first official visit to the creative team since "Black Myth: Wukong" became a global phenomenon.

Guided by Feng Ji, Yang Qi, and others, the leaders visited the office area filled with "Journey to the West elements" and listened to a detailed introduction about the game's creative concept, art style, and visual technology.

During the exchange, the leader congratulated the team on the achievements of "Black Myth: Wukong" and encouraged the team to "uphold craftsmanship and strive for excellence" to continue creating artistic masterpieces with cultural depth and market influence.

It was also pointed out that Beijing will vigorously support the development of the digital cultural and creative industry, enhance industrial agglomeration and service capabilities, strengthen intellectual property protection, and cultivate more phenomenal works like "Black Myth: Wukong," so that "China's digital cultural products can truly go global."

Two days later, on the evening of the same day, CCTV's "News Broadcast" devoted nearly a minute to reporting on Game Science's phenomenal breakthrough.

In front of the camera, Feng Ji's gaze was calm, and his words revealed the wisdom and conviction he had gained along the way: "For domestic games, embarking on the journey is more important than reaching the destination. The trials, reflections, and breakthroughs along the way are meaningful in themselves."

The camera then pans to Chen Mo.

He appeared calm and composed, his tone steady yet each word clear: "The cultural soil accumulated over five thousand years of Chinese civilization has never lacked abundant material for game creation."

What we lack are companies that can truly calm down, not chase after the noise, and are willing to use their souls to polish their work.

Game Science's success this time is not a fluke, but the inevitable result of hard work paying off—a natural outcome after a long and steady journey.

With official endorsement, a host of mainstream media outlets followed up with reports:
"Through years of dedicated development, Game Science has finally delivered a product that far exceeds the minimum acceptable level in terms of core experience, successfully transforming immense pressure into strong market momentum."

"Black Myth: Wukong proves to the world that Chinese game development teams are capable of creating top-tier single-player games that achieve global success in terms of technology, art, and commerce."

This is not only a success for the game, but also a huge boost to the confidence of China's entire cultural and creative industry.

Before its release, it was a highly anticipated cultural phenomenon; after its release, it established itself with its excellent quality and became a classic work that players will remember and discuss for a long time.

In conclusion, the journey of Black Myth: Wukong is a story about dreams, perseverance, and strength.

It withstood unprecedented attention and scrutiny, and ultimately responded to all the praise and doubt with a global "myth."

A few days later, Feng Ji was invited to appear on CCTV's "Face to Face" program, where he candidly recounted his creative process in front of the camera:

Host: "When was the most difficult time during the creative process?"

Feng Ji: "Actually, making 'Black Myth' was enjoyable and I had a lot of fun in it."

The truly difficult period was after the failure of "Dou Zhan Shen". We remained silent for a long time, and at one point dared not touch the Journey to the West theme again. We even considered switching to mobile games to survive.

Later, by chance, I met Mr. Chen Mo, the chairman of Beyond Technology Group. We talked a lot then, about the industry, games, genres, and our understanding of things. That conversation was very beneficial to me. It also strengthened my and my team's confidence and determination to continue retracing the path of Journey to the West.

More importantly, he helped us solve the funding and technical problems that had been troubling us, allowing us to fully dedicate ourselves to the creation. Without Mo Zong, without the Other Shore, "Black Myth: Wukong" might still exist, but it would never be this soon, nor as good.

Therefore, I would like to take this opportunity to express my sincere gratitude to Mr. Chen Mo on the other side of the strait!

Host: "What values ​​did you want to convey when designing the game?"

Feng Ji: "First of all, games are for playing, and having fun is the most important thing."

For example, overseas players might encounter vivid monsters in an unfamiliar world, interact with them, and receive rewards for doing the right things. This experience itself can immerse players in the game.

They didn't know the stories in "Journey to the West" or the relationships between the characters; they just wanted to try playing it because the graphics were high-quality, looked realistic, and seemed interesting.

First, make it fun, then explore what lies behind it. For example, does the game have its own worldview? Does it convey any kind of message? Does it have any connection with a particular culture?

You see, when we talk about Sun Wukong abroad, the first thing they think of is "Dragon Ball". Akira Toriyama used the setting of Journey to the West to tell a Japanese story.

Looking at Black Panther, Disney, and the Avengers, these are all stories from around the world packaged with American values ​​for cultural export. Black Myth: Wukong may have achieved some success in this regard, but we still have a long way to go.

I believe that as long as a product is made in China, it doesn't matter whether it's Japanese, American, or European. I'll use my perspective and my values ​​to structure and tell your story; I might even understand it more deeply than you do. That's roughly it.

After the interview aired, Youke released the documentary "The Birth of the Black Monkey" on Bilibili, which detailed the various hardships the game had gone through since embarking on its journey to the West, and quickly resonated with a wide audience.

Two days later, a spokesperson for WJB posted a recommendation for "Black Myth: Wukong" on the overseas social media platform Twitter.

It is described as "a wondrous journey full of imagination and creativity, set against the backdrop of Eastern mythology, from which all may draw courage and strength."

The accompanying image is the game's iconic poster: the Great Sage's back view, wielding his staff to fight against countless Buddhas and gods.

When a foreign journalist asked a question at a regular press conference about the success of "Black Myth: Wukong" and the export of Chinese culture.

The spokesperson first congratulated the game on its success, and then pointed out that the game incorporates rich Chinese elements and is a masterpiece that combines Chinese culture with modern technology.

He emphasized that this will help promote cultural exchange and mutual learning between China and other countries, allowing more people around the world to understand and appreciate Chinese culture.

First came the positive report on CCTV's "News Broadcast," followed by a series of praises from multiple departments—all of this has long exceeded the conventional significance that a game can convey.

The series of signals released made a leader in Hangzhou unconsciously frown.

It's not that I have any objections, but...
Game Science
He tapped his fingertips lightly on the table and murmured softly.

Why does this name sound so familiar?

He was absolutely certain he had heard it somewhere before.
(End of this chapter)