NO one could have anticipated that being well-versed in Journey to the West would be considered “cool” in 2024.

Yet here we are, as the newly released action role-playing video game Black Myth: Wukong has reignited global interest in the 16th-century classic written by Wu Cheng’en.

I have watched with fascination and occasional bewilderment as peers and YouTubers, many Western, delve into the rich lore of the classic in recent days. This enthusiasm reminds me of my childhood when I would eagerly wait in front of the television each evening for the broadcast of the 1999 CCTV adaptation.

I was equally impressed to learn that Wukong is Game Science’s first-ever AAA game (a term used to describe high-budget video games), a market traditionally dominated by developers from Japan, the United States, and France.

With the game selling over 10 million copies across all platforms in just four days, it became clear that Wukong represents a significant milestone in gaming and cultural diplomacy.

The high-quality graphics, complex gameplay, and innovative use of the latest gaming advancements, such as Unreal Engine 5, demonstrate that the developers are not only on par with but potentially surpassing their Western counterparts.

Beyond this, the success of Wukong prompts a larger conversation about the power of cultural influence, or soft power. Soft power refers to a country’s ability to shape global perceptions and behaviours through cultural appeal, diplomacy, and values, rather than coercion or force.

The game, which is loosely based on Journey to the West, is deeply embedded in Chinese culture and traditional mythology. Its rich storytelling serves as a powerful vehicle for sharing Chinese culture with the world, illustrating that Asian cultural products can resonate with a global audience.

Entertainment, particularly video games, is a potent tool of soft power because it engages people on a personal level. By creating content that is both entertaining and culturally rich, a country can subtly influence global perceptions and narratives. Wukong not only generates interest in Chinese culture but also enhances China’s image through its use of cutting-edge technology.

The success of a media product like Wukong can be seen as strategic cultural branding. Just as Japan uses anime and manga, and Korea leverages K-pop and dramas to boost its cultural influence, China is tapping into global markets with high-quality, culturally significant products that build a powerful international image.

There are also economic implications that feed back into soft power. Japan and Korea have successfully leveraged their cultural exports to capture tourists’ imaginations, drawing billions of dollars in tourism revenue annually. Similarly, when a game performs well, it incentivises further investment in a country’s gaming industry, leading to more high-quality products that can compete globally.

In essence, developing a country’s soft power is valuable for influencing global perceptions, creating new cultural narratives, and asserting a country’s presence in international markets.

Staying true to this column’s spirit, which carries a youth’s aspiration for Malaysia, I believe we can learn much from the success of Wukong. However, it’s unrealistic to compare Malaysia’s gaming industry with China’s or to ask the government to invest billions of ringgit into gaming amidst other more pressing national concerns.

One critical lesson here is the importance of creating a cohesive national brand. Wukong is not just a video game; it’s a carefully crafted product that blends traditional Chinese mythology with cutting-edge technology. This fusion of the old and the new, the local and the global, is what makes it so appealing to a wide audience.

Malaysia, with its unique blend of mainstream and indigenous cultures, offers a wealth of stories, traditions, and art forms. Yet, despite this cultural richness, our country’s global cultural footprint remains relatively small. We have also struggled with national branding efforts, often focusing too narrowly on tourism.

Wukong’s deep ties to its cultural history show that compelling content can stem from self-awareness and a thorough understanding of the audience. By re-examining their cultural heritage and recognising its value, the developers realised that the secret ingredient lay within their traditions. Similarly, Malaysia needs to identify what makes its cultural resources beautiful and marketable.

While campaigns like “Malaysia Truly Asia” have had some success, they have not translated into broader cultural diplomacy. To build a strong and recognisable global brand, Malaysia must look beyond tourism and invest in promoting its culture in ways that resonate with international audiences.

Furthermore, our local media and entertainment industries, which could serve as vehicles for cultural export, remain relatively underdeveloped and constrained by self and state censorship. Soft power builds on media, and encouraging creativity and innovation can help our content reach and appeal to global audiences.

As I reflect on this topic, I cannot help but lament the pressing need for youthful leadership in our government. I believe that it takes Gen-Z leaders – those who have grown up immersed in media similar to Black Myth: Wukong – to appreciate and proactively invest in developing Malaysia’s soft power. It is no coincidence that many of the most vocal advocates for soft power abroad are relatively young leaders in their respective governments.

Wukong’s success shows that investment in soft power pays off. As international access to media continues to grow, the responsibility falls on those who can make it happen to seize the opportunity and tell their uniquely personal stories.

Student Jonathan Lee traces his writing roots to The Star’s BRATs (young journalists) programme, which he has written for since 2016. He is now a Malaysian youth advocate. The views expressed here are solely his own.