Black Myth: Wukong, a Chinese role-playing game (RPG) released in August 2024, set a new Steam record with over 2.2 million concurrent users in its first 24 hours. This remarkable success has reignited global interest in the 16th-century Chinese novel Journey to the West (西游记), on which the game’s characters are loosely based. Now the legendary monkey is making its mark abroad, this time in Indonesia. The development underscores how cultural symbols can break new ground in an interconnected world.

This game has generated considerable attention in Indonesia. The gameplay videos of Indonesian YouTuber @WindahBasudara have garnered over 10 million views within two months. Some YouTubers have recorded videos explaining the stories behind the plots. Reviewers have commended the game for its cultural and philosophical depth, which provides fresh insights into Chinese mythology and history. Indonesian media have extensively covered the surge in popularity of tourism sites featured in the game.

In the classic novel, Wukong (悟空), a magical monkey, defies the heavens and is later imprisoned by the Buddha. After five centuries, he joins Monk Tang Sanzang on a quest for the Buddhist scriptures. Wukong is a shared cultural symbol for generations of Chinese.

The game’s popularity in Indonesia is unsurprising as Wukong is already a well-known figure in Indonesian society. Known as Sun Go Kong or Kera Sakti, he was introduced to the Dutch East Indies by Chinese immigrants. In the 1890s, Journey to the West was translated into Malay by Yap Goan Ho, a 19th-century Chinese-Indonesian translator. Comic adaptations emerged in the 1980s and 1990s by C. C. Low (the author of a comic series featuring the monkey), followed by a later novel adaptation by Yan Widjaya (an Indonesian writer, journalist, and screenwriter) in 2014. Younger Indonesians became acquainted with Wukong through the 1996 TVB series starring Dicky Cheung. Cultural works inspired by Wukong have also been circulated widely. For example, the Japanese manga Dragon Ball featuring Son Goku gained popularity in the 1990s. The K-pop band Seventeen’s 2023 music video “Super” was inspired by Wukong. It went viral among Indonesian fans, underscoring Wukong as a timeless and cross-cultural icon.

Despite Wukong’s popularity in Indonesia, his symbolic meaning differs markedly in China. Indonesians admire Wukong for his invincibility, but in China, his rebellious spirit as ‘The Great Sage, Heaven’s Equal’ holds more significance than his later role as a pilgrim.

Wukong’s widespread acceptance in Indonesia may be attributed to his resemblance to similar local figures. Hera S. Walker suggests that Wukong’s origins could be connected to Hanoman, a monkey character in Indonesian wayang puppet performances, whose roots trace back to the Rama saga brought to Indonesia by Indian traders and monks. Like Hanoman, Wukong symbolises invincibility and justice, earning him the status of a revered deity in some Chinese-Indonesian communities. Statues of Wukong are present in many Chinese temples throughout Indonesia. His blend of Confucian, Buddhist, and Taoist traits reflects their religious practices. At Kera Sakti Temple in Singkawang, the spirit-medium (thatung) invokes Wukong’s spirit for healing and protection. Wayang Potehi (布袋戏) often features Wukong’s story, incorporating various moral and political messages.

Despite Wukong’s popularity in Indonesia, his symbolic meaning differs markedly in China. Indonesians admire Wukong for his invincibility, but in China, his rebellious spirit as “The Great Sage, Heaven’s Equal” holds more significance than his later role as a pilgrim. In China’s pursuit of national independence, Wukong was imbued with substantial political symbolism, inspiring Mao Zedong as a revolutionary symbol promoting courage against the old regime. Black Myth: Wukong has helped bridge these differing interpretations; a viral Indonesian TikTok video explains why wearing the golden headband worn by the monkey is seen as a “bad ending” and encourages players to seek the character’s liberation (traditionally, the headband symbolises restraint and a lack of freedom). This offers Indonesians a deeper understanding of how the Chinese perceive Wukong, thus fostering cultural convergence.

The game’s success has been characterised as a demonstration of China’s soft power strategy, but this oversimplifies the situation. The game is market-driven, not government-led. Some have called it “China’s K-pop moment“, highlighting its grassroots and commercial appeal, which distinguishes it from previous Chinese soft-power initiatives. The game’s collaboration with over 20 brands, including Luckin Coffee, which is expanding in Southeast Asia, underscores its commercial value. As China’s consumer goods sectors expand rapidly into Southeast Asia, the guochao (国潮) movement, blending traditional Chinese symbols with consumer goods industries, is gaining regional momentum, with examples like Pop Mart and the mobile game Honor of Kings becoming popular in Indonesia and beyond.

Black Myth: Wukong, as the newest example of the guochao movement, faces challenges in balancing cultural depth with inclusivity. Its close ties to Journey to the West require cultural context to be fully appreciated, making it largely targeted at the Chinese market. While its success in Indonesia reflects local familiarity with Wukong, other regions may encounter cultural barriers. The Chinese often describe their culture as “profound and vast” (博大精深), but this depth can complicate international transmission.

In an era where digital media continues to blur cultural boundaries, Black Myth: Wukong illustrates how ancient classics can be reinterpreted to resonate globally. It prompts us to reconsider how traditional cultural symbols can forge new connections in an interconnected world. It also reflects the cross-border and cross-sector resonance of culture and commerce. Such synergies will be crucial for nations seeking to enhance their soft power in the future.