‘Black Myth Wukong’ sequel ‘Zhong Kui’ drops first look gameplay video

Game Science has dropped a 15-minute gameplay trailer for Black Myth: Zhong Kui, its hotly anticipated sequel to 2024’s Black Myth: Wukong .

Catching many fans by surprise, the gameplay video has received a very positive response so far.

“Honestly didn’t expect Game Science to drop 15 minutes of gameplay this early!” one fan writes in the YouTube comments.

“What an amazing surprise.

The game already looks incredible, you can really see the quality and effort behind it.” Another enthuses: “Never in my life [have I] expected to see a 15 mins trailer for this game in this time of the year.

GOD DAMN IT LOOKS SO GREAT.

Game Science do be cooking back to back masterpieces.” And one writes simply: “Looks like Game Science is delivering another banger!” Black Myth: Wukong was released in 2024 for PS5 and PC and sold more than 10million copies in just three days .

An Xbox version launched the following year .

The single-player action-adventure game was inspired by the classic Chinese novel ‘Journey To The West’ and sees players take on the role of The Destined One as he tries to restore Sun Wukong, the Monkey King, to his former glory by collecting six ancient relics.

Last August, a sequel to Black Myth: Wukong was confirmed by game developers Game Science .

Single-player action role-playing game Zhong Kui will be “rooted in ancient Chinese fantasy,” and is “set against the backdrop of the classic Chinese folktale ‘Zhong Kui Banishing Evil’.” Taking part in a Q+A earlier this month (August 2026), Game Science art director Yang Qi has said the team will be sticking to traditional techniques to make the sequel, rather than relying on AI.

He also cited Christopher Nolan’s reassuringly old-school blockbuster The Odyssey as a creative inspiration .

“We’ll steer clear of [AI generated content] during the design and asset phases – not out of resistance, but simply to stand our ground until the very end,” he explained [via ResetEra ].

“At a time when digital filmmaking and 3D post-production seem to have reached a dead end, look at Nolan.