Jiangkou Tatsuo, Chairman and President of Sony Interactive Entertainment (Shanghai) Co., Ltd.
AsianFin -- When Black Myth: Wukong launched last year, it did more than captivate gamers—it sparked a nationwide frenzy for PlayStation 5 consoles in China, breaking a decade-long sales record in its first week and triggering shortages across the country.
On the game’s first anniversary, August 20, PlayStation China paid tribute to the Game Science title with a WeChat post titled “Overcoming Hardships, Setting Out Again,” coinciding with the debut of the first trailer for Black Myth: Zhong Kui.
展开剩余91%“There is a world before and after Black Wukong,” said Eguchi Tatsuo, Chairman and President of Sony Interactive Entertainment (Shanghai) Co., Ltd., in an exclusive interview with AsianFin. “Black Myth: Wukong marks a turning point in the history of Chinese games—not just the success of a single-player title, but the emergence of a cultural phenomenon.”
The phenomenal success of the domestic game “Black Myth: Wukong” has prompted Sony Group to reassess the Chinese market. Photo taken by the author during the 2025 ChinaJoy event.
The game not only shattered long-standing stereotypes about Chinese-made games but also redefined global audiences’ acceptance of titles rooted in Chinese culture. Unexpectedly, it also drove PlayStation 5’s weekly sales in China to record highs, creating a hardware-buying frenzy rarely seen in the history of console gaming. PlayStation units sold out almost immediately across major retail channels.
Sony’s global headquarters responded swiftly. Eguchi said that headquarters broke its usual inventory allocation strategy to prioritize the Chinese market. Global stock transfers were initiated, and customs clearance was expedited, resolving the shortage within two weeks.
Initially, some executives worried whether Western players would embrace a game deeply rooted in the Chinese aesthetic of Journey to the West. Those concerns quickly evaporated. Eguchi noted that German players proactively asked about the game, and American friends were eager to try it, demonstrating the global appeal of culturally specific content.
The game’s impact was significant enough to be mentioned during Sony Group’s FY2024 Q2 earnings call, a rare acknowledgment for a development team outside Japan or the U.S. The recognition reinforced the growing importance of the Chinese market in Sony’s global strategy.
“Black Wukong has proven that when the content is outstanding, the Chinese market can fully drive overall growth in both hardware and the ecosystem,” Eguchi said, reflecting a sense of pride and optimism for local developers.
PlayStation showcased a Chinese-style design for the first time at the ChinaJoy exhibition area.
During this year’s ChinaJoy expo, the PlayStation booth became a centerpiece for domestic content, adorned with traditional Chinese elements and featuring demos exclusively of Chinese-made games—a first for the company. The success of the Chinese gaming ecosystem demonstrates the results of Sony Interactive Entertainment China’s more than decade-long China Hero Project, now in its fourth phase with expanded support for local developers.
The project has helped Sony identify untapped talent and business opportunities in emerging markets, prompting similar initiatives globally, including the India Hero Project in 2023 and the MENA Hero Project launched last August.
Eguchi noted that the rise of Chinese console games is also changing overall sales patterns. Traditionally, console sales stabilize after two to three years and then decline. However, pent-up demand suppressed by the pandemic caused PlayStation 5 sales to surge in its third year, and sales continue to grow more than four years after launch.
Yet, the post-Black Myth: Wukong era presents a challenge. Industry insiders warn that a blockbuster can heighten player expectations, making other mediocre titles appear underwhelming. Domestic developers still lack confidence in producing AAA console titles, and the ecosystem remains dominated by mobile and PC games. Eguchi likened the situation to a “first college student in the village”—the game proves what’s possible, but it cannot instantly replicate a second miracle.
He highlighted a structural gap: over 80% of the Chinese gaming market is mobile, while console and mobile games are evenly split globally. Integrating expertise from the Live Service (Games as a Service) model into console platforms could unlock substantial growth. The PlayStation 5’s global sales of 77.8 million units represent a vast potential for revenue and player engagement.
Eguchi emphasized that PlayStation will not focus solely on domestic-style games, even amid their recent boom. The company remains committed to a globalized content strategy, balancing international IPs with support for local creators. From cultural trends to technological evolution, and from fostering domestic talent to implementing the “One Sony” strategy, the company aims to leverage both global and local strengths.
“Black Wukong has shown the world what Chinese games can achieve, but the industry must continue to innovate, develop high-quality titles, and build confidence in the console market,” Eguchi said. “The next step is sustaining this momentum and turning a one-time phenomenon into long-term growth.”
As Black Myth: Wukong continues to influence the industry, Sony’s executives see the Chinese market not just as a consumer base but as a catalyst for global gaming trends, reflecting the rising importance of domestic developers in shaping the international landscape.
The interview with Tatsuo Eguchi is as follows, edited for clarity and brevity:
Q: It’s been a year since our last conversation. During this time, a phenomenal event in the domestic gaming scene was the release of “Black Myth: Wukong,” which became a hit beyond everyone’s expectations. What was your reaction at the time?
Eguchi:My first reaction was, of course, happiness. We’ve known Game Science for about five years, and this is their first single-player game. I hoped that this young team, after investing six years into a game, would see great success.
Actually, even before the game launched, I already thought it was excellent and had a lot of confidence in it. But I did have one concern: its story, world-building, and characters are all very distinctly Chinese, deeply rooted in Chinese culture. I wondered whether overseas players would be able to understand it.
Friends in Japan are certainly familiar with “Journey to the West,” but would players in Europe and America like it? I was a little worried. But then, many American friends told me they would play the game, and even friends in Germany said the same. So I was reassured. If they can embrace Chinese aesthetics and traditional worldviews, then the series of China-themed games we’re developing should have no problem launching overseas.
Global players don’t care where a game comes from or which company made it. The only thing that matters to them is whether the game is fun and impressive. The success of “Black Myth: Wukong” proves that we really have a chance—and will continue to have opportunities in the future.
Q: So what surprised you most at the time was how well “Black Myth: Wukong” was received in overseas markets?
Eguchi:Mainly, I was a little worried before. One year before “Black Myth: Wukong” was released, Game Science put out a trailer, and at that time, people overseas thought it looked amazing. But just from watching the trailer, no one really knew what the story of the game would be. However, after it launched, the word of mouth was still very good, and sales kept getting better and better. Even now, it continues to sell very well.
Q: Have you played “Black Myth: Wukong”? What score would you give it?
Eguchi:I haven’t finished it yet—I still haven’t beaten one of the major boss scenes. The game is truly excellent: the graphics are beautiful, and the characters are very appealing. Of course, there’s still room for improvement. I believe they’ve already started working on their next challenge, and that’s how progress happens. I don’t know what their next project will be like or when it will come out, but I’m sure it will be even better.
Q: “Black Myth: Wukong” is undoubtedly top-tier within the gaming community, but what surprised many is that it’s had an impact on society as a whole—even the entire entertainment industry, and even people who never played games are now paying attention, studying, and analyzing it. Why do you think it has such a strong ability to reach new audiences?
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