“Black Myth: Wukong” attracts numerous players with its exquisite CG scenes, intricate modeling, rich characters, and complex storyline. This article will analyze the elements in the game’s opening CG to help players gain a deeper understanding of the game’s details.
The game’s prologue begins with an intense battle scene between Sun Wukong—the Victorious Fighting Buddha—and the valiant Erlang Shen, Yang Jian. Erlang Shen, the hero dressed in white robes, is an important figure in Chinese mythology, enjoying high prestige especially in “Journey to the West”. He is known for his extraordinary divine powers, his unique third eye, and his loyal companion, the Howling Celestial Hound. He represents justice and divine authority.
Erlang Shen’s story is rooted in Chinese folklore and Taoism tradition, and he is often considered the nephew of the Jade Emperor. Despite his noble origin, Erlang Shen’s strong self-esteem makes him infrequently interact with the Celestial Court, only submitting to the Jade Emperor’s authority in matters of state and military affairs. Legend has it that his mother was an immortal who fell in love with a mortal, a relationship that was not accepted by the Celestial Court, leading to her imprisonment in a mountain. To rescue his mother, Erlang Shen once split the mountain, and the scene where Yang Jian cleaves the mountain in the game is a tribute to this legend.
The name “Erlang” means “second son,” hinting at his position within the family, while the title “Shen” emphasizes his divine nature. Erlang Shen is typically depicted as a handsome and imposing young man, tall and strong with a strikingly beautiful face and a spirited demeanor. Most notable is the third eye on his forehead, known as the “Heavenly Eye” or “Dharma Eye,” which symbolizes extraordinary insight and supernatural abilities, allowing him to see through the true forms of Yaoguais and Fiends.
The opening CG of the game also showcases Erlang Shen’s companion—the Howling Celestial Hound, a divine dog possessing superb combat skills and intelligence. In battle, the Howling Celestial Hound works seamlessly with Erlang Shen, often leaping towards enemies to disrupt their formation before its master attacks. Under the command of Erlang Shen, the hound can precisely find and target the weaknesses of the enemy, gaining a tactical advantage for its master.
Standing behind Erlang Shen are the Five Figures: the Four Heavenly Kings and the Giant Spirit God. From left to right, the Four Heavenly Kings are presented as follows: Dhṛtarāṣṭra, holding a pipa; Virūpākṣa, holding a loong/dragon snake; Virūḍhaka, wielding a precious sword; and Vaiśravaṇa, carrying a jeweled umbrella. Each of them guards one of the four cardinal directions: east, west, south, and north. At the back, towering over the rest, is the Giant Spirit God.
Dhṛtarāṣṭra of the East is responsible for protecting The Eastern Continent of Superior Body. His mission is to safeguard the land and its people, ensuring their stability and prosperity. Dhṛtarāṣṭra is often depicted wearing armor and holding a pipa. The pipa is not only a musical instrument but also symbolizes harmonizing all things, signifying peace and harmony. His image transcends the mere symbol of strength; the pipa in his hands emphasizes his approach to maintaining the land through harmony and music, reflecting the Chinese cultural principle that values harmony above all.
Virūpākṣa of the West guards the Western Continent of Cattle−gift. His duty is to oversee the world, discerning good from evil, thus earning the title “Virūpākṣa.” He is usually depicted wearing armor and holding a loong or a snake, which symbolize his wisdom and insight, enabling him to see through illusions and wickedness. The image and role of Virūpākṣa reflect the core Chinese cultural value of discerning right from wrong. He is not only a guardian but also an observer who maintains justice and order through his keen insight. This image holds a significant place in folk beliefs, where people worship him for clarity in distinguishing right from wrong and avoiding evil.
Virūḍhaka of the South protects the Southern Continent of Jambu. His responsibility is to promote and increase the spread of Dharma, hence he is called “Virūḍhaka.” He is often illustrated wearing armor and wielding a precious sword. The sword symbolizes the eradication of evil and the protection of the good. The duties and image of Virūḍhaka embody the Chinese cultural notion that justice shall prevail. He is not only a protector of Dharma but also a symbol of righteous power, representing the growth of justice and the eradication of evil forces. This image resonates deeply in the hearts of people, making him an important symbol for the invocation of justice and protection.
Vaiśravaṇa of the North is responsible for guarding the Northern Continent of Kuru. His duty is to protect sentient beings while they listen to the Dharma and safeguard wealth and merit, which is why he is called “Vaiśravaṇa.” He is often depicted wearing armor and holding a jeweled umbrella or a stupa. The jeweled umbrella symbolizes protection, while the stupa represents the accumulation of wisdom and merit. Vaiśravaṇa’s image and role embody the cultural concept of “accumulating merit.” He is not only a protector of the Dharma but also a guardian of wealth and merit. This image is highly significant in folk beliefs, where devotees hope he can bring prosperity and fortune, leading to a happy life.
The Four Heavenly Kings’ imagery and stories have a profound impact on traditional Chinese culture, frequently appearing as guardian deities in temples’ statues and murals, becoming important symbols for devotees praying for protection and peace. Although the Four Heavenly Kings originated as Dharma protectors in Buddhism, they have been endowed with additional meanings and expectations in Chinese folk beliefs.
The Giant Spirit God is a legendary figure in Chinese mythology, characterized by his enormous size and immense strength, which evoke a sense of awe and mystery. His primary role is to guard the mountains and maintain the order of heaven and earth. As a protector of mountains, he can lift mountains, fill seas, and even control earthquakes and landslides to protect people from natural disasters. Additionally, the Giant Spirit God is renowned for his exceptional combat abilities, easily breaking stones and defeating enemies, and is often dispatched to specific locations to ensure local peace and stability.
In ancient Chinese culture, the image of the Giant Spirit God reflects people’s awe and reverence for the forces of nature. His enormous stature and immense strength symbolize the greatness and mystery of the natural world, making him a symbol of power and protection. When facing natural disasters and threats from enemies, people long for the powerful protective force embodied by the Giant Spirit God.
The opening CG of the game also features many Heavenly Soldiers and Generals clad in armor. In Chinese mythology, Heavenly Soldiers and Generals are the warriors and divine generals of the Celestial Court, commanded by the Jade Emperor. They bear the heavy responsibility of protecting the Celestial Court, maintaining the order between heaven and the human realm, and combating the invasions of Yaoguais and Fiends. They are typically depicted in armor, wielding divine weapons, exuding an aura of grandeur and valor. Heavenly Soldiers and Generals are often dispatched to various locations to perform tasks such as suppressing Yaoguais, capturing criminals who defy the heavens, and assisting righteous individuals. In “Journey to the West”, they are frequently sent to subdue Sun Wukong during the Havoc in Heaven. Although they ultimately fail, their bravery and loyalty leave a deep impression.
In the game’s opening CG, there is a homage to the original text of “Journey to the West” as Erlang Shen and Sun Wukong engage in a battle, transforming into different birds and chasing each other. This references the sixth chapter of “Journey to the West”, where Sun Wukong turns into a sparrow, and Erlang Shen morphs into a hawk to catch him.
In the end, Sun Wukong’s defeat was caused by the sudden constriction of the Golden Hoop on his head, leading to excruciating pain. This Golden Hoop was a magical artifact specially prepared by Bodhisattva Guanyin to help Tang Seng manage and restrain Sun Wukong. Bodhisattva Guanyin gave the Golden Hoop to Tang Seng and taught him the corresponding incantation. Whenever Tang Seng recited the tightening spell, the Golden Hoop on Sun Wukong’s head would tighten, causing him unbearable pain, thus achieving the effect of restraint and punishment.
Upon Sun Wukong’s death, his body transformed into six Root Instruments, which correspond to the Buddhist concept of the “six roots”: eyes, ears, nose, tongue, body, and mind. In Buddhism, “Six Roots of Purity” is an important practice concept, meaning to purify the six roots through cultivation to free oneself from worldly troubles and impurities, thus achieving inner peace and wisdom.
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