Zhelai, the vocal artist behind a viral track for Black Myth: Wukong, captivates audiences worldwide with her unique and rebellious sound.

As the first Chinese AAA game, Black Myth: Wukong has gained explosive popularity, and one of its tracks, Pi (which can mean both "fart" and "nonsense" in Chinese), has also garnered significant attention.

Featuring philosophical lyrics, a grand and unique musical arrangement, and distant yet powerful vocals, this song has captivated gamers, social media users, and the public alike.

Creative reinterpretations of the song are thriving, including reaction videos from foreign listeners, analyses by a 90-year-old piano-playing granny, a Cantonese cover, and even a remake music video by the Yunnan traffic police.

The original singer of Pi, vocal artist Zhelai (pseudonym) from Jinchang in Northwest China's Gansu province, is delighted by the enthusiasm.

"I'm not at all worried about the imagination of netizens; everyone should just enjoy the song," she said.

"Seeing people immerse themselves in this piece, I feel that each person is wonderfully talented. Every time I encounter their creations, I gain a new perspective on the song."

When Zhelai recorded Pi three years ago, she had no idea it would become so widely popular.

At that time, she hadn't seen any visual materials about the game and relied solely on her feelings and understanding of the lyrics and melody to deliver the unique and memorable performance we know today.

Some consider the word "pi" to be vulgar, which is why many refer to the song by its key lyrics, "three realms and four continents".

Zhelai explains that when she recorded the song, the title hadn't yet been decided. While the Buddhist concept of "three realms and four continents" does reflect the grand worldview depicted in the song, after learning more about the game's story and characters, she felt it had to be called Pi because "otherwise, the song would lack spirit", she said.

"'Pi' represents a fundamental human desire, something produced by the body that needs to be expelled," Zhelai explained. "It also captures a rebellious attitude. The essence of netizens' creations and imitations is this very spirit."

Black Myth: Wukong is a reimagining of the classic Chinese novel Journey to the West. In the game, players control a young monkey who decides to follow in Wukong's footsteps to the West after the Monkey King's death. Along the way, he overcomes various trials and challenges, hoping to help Wukong come back to life.

Zhelai believes the core of the original novel is a heroic epic that emphasizes Wukong's transformation and growth. She feels that both the game and the song remain true to the novel by highlighting the essence of humanity, which is why they resonate with so many people.

According to her, the creation of Pi embodies elements of Chinese philosophy, aesthetics, and narrative. For example, a key aspect of Chinese music aesthetics is the concept of "leaving space".

"There are moments in my singing where there is complete silence — an emptiness — before I release the sound. That silence allows me to convey something meaningful," Zhelai explained.

"This performance reflects the Chinese way of storytelling, giving the song a rhythm distinct from Western narratives."

She also noted that the arrangement of Pi combines Western symphonic elements with traditional Chinese instruments such as the zhong (bell), qing (chime stone), and bianzhong (bronze chime bell).

"These instruments were commonly used in ancient ceremonial music in China," she said.

Zhelai believes her singing aligns with the song's spirit because her vocal exploration is deeply rooted in local Chinese culture and folk music.

"I grew up in the Gobi Desert and by the Qilian Mountains. The natural environment shaped my spirit and character. Later, I learned to play traditional instruments like the pipa, and in university, I studied Chinese national opera and folk art songs," she said.

In Pi, Zhelai weaves together various techniques from the folk songs of her hometown. For example, she used a long, linear note inspired by the Hua'er folk singing from Gansu.

"The mountains there are vast and barren, so greetings between people often stretch out melodically to carry over long distances. This imparts a broad, artistic atmosphere to the song," she explained.

Another element she draws from is Qinqiang, an ancient opera popular in Northwest China, also known for its powerful vocal style.

"These are the spiritual nutrients that this land has given me," she said.

In 2018, Zhelai began collecting and studying traditional folk songs from the Hexi Corridor — a historically significant trade route along the ancient Silk Road in Gansu — interviewing and learning from dozens of cultural inheritors. However, she doesn't simply replicate these songs; she blends modern music techniques and electronic arrangements to give traditional music a fresh, contemporary appeal.

Zhelai describes her style as "world music" — deeply rooted yet distinctly modern.

Her aspiration is to let the world hear the sounds of her hometown, especially Dunhuang, a city in Gansu known for its iconic Mogao Caves.

"Dunhuang is a cultural treasure trove where music has always played a crucial role. While many people appreciate the visual beauty of Dunhuang, few have truly heard it. Some films and videos about Dunhuang even use music from other places to accompany the visuals," Zhelai said.

"As a local, I want to bring the essence of the folk songs I grew up with to the world through my music projects."

guiqian@i21st.cn