Beyond the ‘Yellow Sand’ and Toward Cultural Agency: Sinologism and Cross-Cultural Communication in Black Myth: Wukong

While recent game research explores culture and Orientalism, a significant gap remains regarding Sinologism. Gu proposed Sinologism based on Orientalism, laying the theoretical foundation for this study. Utilizing the analytical framework of Chapman and Šisler, this study examines the characteristics of Sinologism within and outside the game, including its scenes, characters, items, abilities, skills, and narrative style. The cultural practice of Black Myth: Wukong exemplifies the complex dynamics described by “Sinologism.” Operating within the globalized framework of the video game industry, it negotiates with Western perspectives while, to a certain extent, challenging established Orientalist modes of representation. However, this study argues that its success is not a result of “complicit” strategies that merely replicate dominant paradigms. Instead, it represents a reconstruction of “cultural subjectivity.” By combining high production values with familiar ARPG conventions, the game makes culturally dense elements more legible to international audiences, encouraging engagement with indigenous cultural logic rather than defaulting to externally imposed interpretive frames. Accordingly, Black Myth: Wukong stands as a paradigmatic case, illustrating how Chinese developers attempt to negotiate agency within an asymmetrical Sino-Western structure to seek autonomous expression amidst structural constraints.