Inside a studio's sonic imagination

"When I was younger, I played games for fun," Tong recalls. "But now, games have become a vital cultural phenomenon. They set trends. Their narratives resonate globally, especially with younger audiences."

Music plays a key role in those cultural narratives. For Black Myth: Wukong, iconic tracks from the 1986 Journey to the West TV series, like Yun Gong Xun Yin (Celestial Symphony) and Gan Wen Lu Zai He Fang (Where Lies the Path Ahead), were reimagined for the game, honoring the classic while giving it a fresh musical language.

"We're blending tradition with innovation," Tong says, "allowing players to experience Chinese culture through a lens that feels both familiar and fresh."

Zhang Tianyu, a sound designer at 8082, agrees. He believes that sound is no longer a secondary consideration in video games. As gaming technology advances, sound has shifted from background detail to centerpiece. "In the past, sound was often an afterthought, but now, it's essential," Zhang explains. "Sound can amplify the impact of a story, turning a game from just interactive entertainment into something deeply emotional."

For Zhang, who holds a degree in music production and sound design from Beijing Contemporary Music Academy, the power of sound lies in its ability to communicate a creator's personality and emotional vision. "Every note and every sound tells a story," he says, emphasizing that sound makes people feel something.