NextFin News — When Black Myth: Wukong hit shelves, the executive suite at Sony Group’s global headquarters repeatedly echoed a single word: “Phenomenal!”On August 20, exactly one year after the game’s debut, PlayStation China posted a reflective message on its official WeChat account, paying tribute to developer Game Science as it revealed a teaser for its next project, Black Myth: Zhong Kui.“Before and after Wukong, these are two different worlds,” Tatsuo Eguchi, Chairman and President of Sony Interactive Entertainment (Shanghai) Co., Ltd., said in a recent interview. He described Black Myth: Wukong as a watershed moment in Chinese gaming history—not merely a victory for single-player titles, but a cultural breakout.The game dismantled longstanding stereotypes surrounding domestic Chinese titles, expanded global appetite for China-themed narratives, and drove weekly sales of the PlayStation 5 in China to record highs.The software-driven hardware frenzy left major retail channels across China completely out of stock.To resolve the shortage, Sony’s headquarters bypassed standard allocation rules to prioritize the Chinese market, while logistics teams streamlined customs clearing to replenish store shelves within two weeks, Mr. Eguchi said.Despite initial worries over whether Western audiences would grasp a story rooted in Journey to the West, international reception was overwhelmingly positive, with players in Europe and the U.S. embracing the title.The game earned an explicit mention during Sony Group’s earnings call for the second quarter of fiscal 2024, a rare honor for a single market title from a global conglomerate that typically focuses on multinational franchises.For Mr. Eguchi, the acknowledgment offered a proud moment, signaling that high-quality content from China could drive hardware and ecosystem expansion.At this year’s ChinaJoy expo, visitors packed the PlayStation booth, which featured traditional Chinese design elements and showcased exclusively domestic titles for trial plays for the first time.The weight of the Chinese market in the global industry has validated SIE China’s decade-long “China Hero Project,” now in its fourth phase with expanded support for local studios.This localized incubation model is now influencing Sony’s global strategy, demonstrating that creative talent extends beyond Western markets into emerging economies.Sony Interactive Entertainment launched the “India Hero Project” in 2023, followed by the “MENA Hero Project” in the Middle East and North Africa last August.Beyond software, the influx of diverse developers and expanding emerging markets are shifting traditional console sales cycles.Historically, console hardware sales plateau two to three years after launch before entering a steady decline.However, PlayStation 5 sales broke the pattern as suppressed pandemic demand surged in its third year, keeping sales growing past its fourth year without having yet reached a peak, according to Mr. Eguchi.Yet beneath the industry excitement lies caution among domestic developers, many of whom remain skeptical about triple-A single-player console development in a market overwhelmingly dominated by mobile titles.Black Myth: Wukong proved what is possible, but replicating its success poses a challenge, creating tension between rising player expectations and developer conservatism.Mr. Eguchi pointed out that while mobile games account for over 80 percent of China’s gaming market, global console and mobile revenues are split roughly evenly. Chinese developers could tap new growth by bringing their expertise in live-service games to the PlayStation 5’s global user base of 77.8 million units.Despite the surge in local hits, PlayStation intends to maintain a balanced global content matrix rather than pivoting exclusively to any single genre.In the following interview, Mr. Eguchi discusses Sony’s internal operational response, the evolution of its “One Sony” strategy, and his vision for the future of China’s gaming ecosystem.Q: It has been a year since our last interview. During this period, Black Myth: Wukong became a cultural phenomenon in China, with popularity exceeding nearly all expectations. What was your initial reaction?Tatsuo Eguchi: My initial reaction was pure joy. We have known the team at Game Science for about five years, and this was their first single-player title. I genuinely hoped that after spending six years developing it, this young team would see massive success.I felt confident in the game’s quality long before release. My only slight concern was whether overseas players would understand its narrative, world-building, and characters, which are deeply rooted in traditional Chinese culture.I knew Japanese players were familiar with Journey to the West, but I wondered about Western audiences. Those doubts evaporated when friends in the U.S. and Germany told me they were eagerly playing it. That gave us confidence that other China-themed titles currently in development will also find a global audience.International players do not judge a game by its country of origin or the developer’s background; they care only about whether it is fun and high quality. The success of Black Myth: Wukong proves that opportunities exist for Chinese developers on the world stage.Q: So your primary surprise was the extent of its popularity in overseas markets?Tatsuo Eguchi: Yes, mostly because of my initial apprehension. When Game Science released a promotional trailer a year before launch, international viewers were impressed, though a trailer alone does not convey full narrative depth. Once the game launched, strong word-of-mouth fueled sustained sales globally.Q: Have you played Black Myth: Wukong yourself? How would you rate it?Tatsuo Eguchi: I have not finished it yet; I am still working my way past a major boss fight. The game is exceptional, featuring stunning visual quality and compelling character design, though there is always room for refinement. I am confident their next project will push boundaries even further.Q: Beyond its gaming success, the title generated broad societal interest, drawing attention from non-gamers and mainstream media. Why did it achieve such cross-over appeal?Tatsuo Eguchi: First, it selected a universally recognized foundation in Journey to the West and reinterpreted it effectively. Second, it aligned with a growing appreciation among younger Chinese consumers for traditional culture and heritage.Game Science executed the vision meticulously. Many people had never seen the world of Journey to the West rendered with such high-fidelity graphics. In the past, audiences experienced these stories through books or television series; now, they can actively navigate the environment themselves.The combat mechanics provided an entirely novel experience for mainstream audiences. Furthermore, the team scanned historical architecture in Shanxi province, sparking local tourism initiatives supported rapidly by regional authorities.Inside Sony, we repeatedly referred to the phenomenon as unprecedented.The domestic gaming landscape is now divided into the pre-Wukong and post-Wukong eras. Player expectations have risen, creating pressure for future developers while simultaneously demonstrating what is achievable with sufficient investment and effort.Q: How was the title perceived at Sony’s corporate headquarters?Tatsuo Eguchi: Everyone was surprised. Game services represent the largest revenue contributor among Sony Group’s six business segments. When management highlighted the success of Black Myth: Wukong during an earnings call last year, it was a proud moment for our regional team, as it made a substantial contribution to the group’s global performance.Q: The game also triggered a sharp spike in PlayStation 5 hardware sales across China. How did your team manage the sudden supply deficit?Tatsuo Eguchi: Although we anticipated strong demand, the market explosion exceeded our projections. Retail inventory across China sold out almost overnight, and incoming shipments were exhausted immediately upon arrival.We recognized the urgency of the moment. Despite a national holiday in Japan at the time, we coordinated with global management to secure immediate inventory reallocation.Headquarters streamlined standard fulfillment timelines and prioritized shipments to China, resolving the core shortage within two weeks thanks to rapid execution by our logistics and import teams.Q: Is a sales surge of this scale unusual in PlayStation’s history?Tatsuo Eguchi: Yes. Sales volume during the launch week of Black Myth: Wukong marked the highest single week in PlayStation’s ten-year history in mainland China.Console hardware sales typically follow a predictable cycle: an initial spike at launch followed by stabilization after two to three years.We track weekly sales trends closely, accounting for seasonal spikes like June 18, Singles' Day, or Lunar New Year to plan import volumes.However, that single week broke all historic benchmarks without any major shopping festival, surpassing even the initial launch weeks of the PlayStation 4 and PlayStation 5. It demonstrated how heavily hardware momentum relies on flagship software titles.Q: Do you view this supply strain as a unique event, or could similar bottlenecks recur?Tatsuo Eguchi: Inventory forecasting remains one of the most challenging aspects of our business. Maintaining excess inventory incurs high warehousing costs and risks margin dilution if demand slows, making precise alignment difficult. While we continue to refine our demand forecasting, unpredictable surges can still test supply chains.Q: PlayStation’s ChinaJoy booth featured an exclusively Chinese design aesthetic and showcased only domestic titles for trial play. How do you view the growing influence of traditional cultural themes?Tatsuo Eguchi: Consumer preferences in China have shifted significantly. In previous years, Hollywood blockbusters and international franchises dominated popular entertainment. Today, domestic films, vehicles, and games command strong consumer preference.The success of titles like Black Myth: Wukong and animated films like Ne Zha reflects a convergence of cultural pride and advancing technical capabilities among domestic creators.Q: Will this trend alter SIE’s broader strategy in China?Tatsuo Eguchi: Our core strategy remains unchanged. As a platform operator, we must maintain a balanced global portfolio spanning multiple genres and origins rather than concentrating exclusively on single-player martial arts or action titles.Domestic titles serve as a key growth engine for our business in China. We will continue supporting local studios through long-term initiatives like the China Hero Project, which requires a development timeline of five to seven years per title. We anticipate a steady pipeline of domestic releases over the coming years.Q: Despite Wukong’s success, many Chinese developers remain hesitant about committing resources to large-scale console games. How do you respond to that caution?Tatsuo Eguchi: That caution is understandable if one looks only at the domestic Chinese market, where mobile platforms dominate. However, on a global scale, consoles represent roughly half of the overall market.With PlayStation 5 global sales reaching 77.8 million units, developers targeting international audiences face a massive addressable market.Furthermore, the boundary between single-player titles and live-service games is blurring. Consoles increasingly host successful live-service models, an area where Chinese developers possess deep operational expertise. Bringing those capabilities to console platforms presents a clear growth opportunity.Q: Industry observers speak of a "post-Wukong hangover," where players face a gap in high-quality domestic releases. Why is there a delay in following up on this momentum?Tatsuo Eguchi: Blockbuster releases naturally occur every few years rather than every few months. While no domestic title has matched Wukong’s scale over the past year, several high-potential projects are currently in development across various studios.Q: What factors are critical for future titles aiming for similar success?Tatsuo Eguchi: Studios must modernize their development pipelines, utilize modern engines, and leverage specialized outsourcing for art, sound, and visual effects.However, visual quality alone is insufficient. Sustainable success requires original mechanics, distinctive world-building, and clear creative vision established at the project's inception. Creative differentiation remains our primary criteria when selecting projects for the China Hero Project.Q: The PlayStation 5 is now in its fifth year. Is the console entering the downward phase of its lifecycle?Tatsuo Eguchi: Traditional hardware cycles saw declines after four years, but the PlayStation 5 trajectory was altered by initial supply chain constraints during the pandemic.Global supply fully met demand only in the console’s third year. As a result, sales momentum has continued to build through years three to five, and peak cumulative hardware penetration has not yet been reached.For developers, the total installed user base is what matters most. As the platform matures, software availability expands, creating an optimal period for players and creators alike.Q: Sony executives recently emphasized the "One Sony" initiative at Bilibili World. How is cross-business collaboration functioning internally?Tatsuo Eguchi: Inter-divisional collaboration is active, even if the results are not immediately visible to the public, as our focus is on long-term business exploration rather than short-term promotional synergy.For example, Sony entered a three-year strategic partnership with the Shanghai Sharks basketball team. Beyond brand visibility, the initiative explores technological integration in sports entertainment, including real-time visual FX on arena displays, interactive gaming during intermissions, and haptic feedback flooring technology for venue seating.Across all six of Sony Group’s operating divisions, our overarching mission remains supporting creators—whether they are game developers, musicians, or professional athletes. Strategic alignment across business units focuses on expanding capabilities for creators rather than worrying about internal cannibalization.(This article was originally published exclusively by TMTPost APP. Author: Li Chengcheng; Editor: Li Yupeng)更多精彩内容，关注钛媒体微信号（ID：taimeiti），或者下载钛媒体App