We live in a world overflowing with soulslike offerings to the gaming gods – titles that will make us cry and die and be snarky at the same time. Black Myth: Wukong, an upcoming 3D action-adventure game that takes its inspiration from Chinese mythology rather than Japan’s, is a shining star in this firmament, at least for those who have had a chance to look at its gorgeous visuals and experience its fluent animations in a hands-on recreation of the opening chapter, which I personally did. I have been waiting for its release on 20 August for months now, and will keep dreaming about its upcoming battles with monsters.
From the get-go, it is clear that Black Myth: Wukong departs from the conventional soulslike template in favouring pace over poise; Wukong moves with such fluidity and speed that dodging enemy attacks is without much difficulty, and combat can lend itself to a very fluid ‘dance of death’. The absence of any block button is also a key aspect of Wukong’s development: players must master dodge mechanics in order to survive against enemies, making for a highly taxing and ultimately thrilling trial of reflexes and tactics.
The real fun is in Wukong’s transformations into literal monsters, granting him the power to wipe out hordes of enemies with devastating special attacks. Gaining the ability to trigger earthshaking calamities might just be the point where a player finally begins to feel he has control over the battle. More than that, each of his transformations adds another new layer to the combat. Each time he trades away his knightly code, alongside his soul, a new depth of play is opened up – and a new rush of adrenaline. Playing a perfect combo feels great, but it becomes even more exciting when it fills Wukong’s focus meter. By blowing this meter on special attacks, players can suddenly shift the momentum of a battle.
The more and more things players see of Wukong’s journey, the more skills and stances they unlock – so that each fight is constantly given new tactics and options. Wind dashes are as varied as ground stomps, with defensive after-buffers standing tall around you for a few precious seconds or a greater amount of time. One of the upgrade systems, very much like one in Sekiro, can take you from what begins as a four-hit chain up to an eight-hit chain that has you slash, slash, slash then stab, stab, stab then spin around, spin, spin – with more than a simple upgrade, it warps your innate play style. The more you play it, the better your hero gets, as your hero must grow to take on foes – and there are no small number of fearsome monsters along the way.
A soulslike game wouldn’t be worth its name until it encounters some fearsome bosses, and Black Myth: Wukong delivers the goods. Each boss fight is an event to behold. Every monster confronts you with a new challenge – whether a wolf or a mule-kicking frog in human clothes – that rewards you for learning the skills you’ve been developing with every enemy you’ve previously fought. The monster design in Black Myth: Wukong is inventive and varied. The battles are intense, and you’ll need to time every strike with absolute precision and grasp the nuances of the combat mechanics to survive.
A linear game offers only so many choices; it might go left then right, then left then right again, perhaps with a few detours, but the promise of every turn is that there’s a secret or a treasure (or maybe a secret boss or hidden area) on the other side, worth the wandering. Every second in the game’s world feels like a new discovery, filled with wonder and peril.
With elegant variation on a theme, the game is as much an exploration of Chinese mythology as it is an impressive showcase of gameplay at the modern apex of visual sophistication. Black Myth: Wukong is rooted in traditional storytelling, and its fidelity to its source and its evident care in production are both expressions of the developers’ respect for their history.
Although it has a lot of glory, the reports of sexism among the development team make it difficult to appreciate it, to once again look away from the lives of those who make the fantasy life possible. Even if you’re deeply enjoying yourself, you are supposed to listen to what the women who have been part of Bioshock Infinite have said about the reality of their situation. It’s important to have this dialogue between those who play and those who produce because the culture of the industry might be more important than the content of a particular game.
After all, at its heart, Black Myth: Wukong is a game that defies expectations, one in which the frenetic, fluid combat doesn’t detract from a deep reverence for Chinese mythological storytelling. It’s loveliness and the weight of its history lies not just in its visual spectacle, or in the fluidity of its mechanics but in the possibility that it holds – an opportunity to reach across cultures and tell a story with global appeal and resonance. We can’t wait to play it, but while we hold our breath, let’s not forget the discussions it started and the lessons it taught before it had even been released.
Black Myth: Wukong is more than just a grudge match in a games-like genre. It’s a statement about the power of story. The thrill of battle. And the necessity of facing and defeating the monsters in our own world.
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