It's a funny analogy but points to a real question as to the significance of this game. I haven't played it yet myself, and it could well be that my reading around the game has led me astray, but my impression is that Black Myth: Wukong is more significant in illuminating a path that China's games industry has previously left untravelled, rather than being a genuinely transcendent work of art in its own right. The vibe I get is that the game is in many respects very impressive, but also limited in scope, reflecting very real constraints. To be clear, that is by no means a criticism, most of my favourite games could be described in similar terms, but it speaks to the applicability of the "J-20" analogy. To put it another way, Black Myth: Wukong is significant not so much on its own terms as for demonstrating that Chinese developers can, given the budget and opportunity, create AAA-class single-player experiences, with the traditional "boxed product" monetisation to match, steeped in Chinese culture, and find critical and commercial success both within and beyond the Chinese market. Those are lessons that Game Science and other Chinese developers and publishers can use to guide their future projects.
I'm not sure that the world of video games was ever truly narrow and homogenous enough for one transformational title to shift the needle beyond the confines of its own genre in the manner that the J-20 analogy would seem to suggest. Even thinking back to the seminal titles of the mid-late 1990s where my own experiences and reliable memories begin, I think one would struggle to make the case for the influence of Half-Life beyond the FPS genre, or StarCraft beyond the RTS genre. But if those days ever did exist, I think they are long gone. At most you get more narrow technical, stylistic or design influences, such as the innumerable games that have taken Breath of the Wild as an aesthetic template.
The parallel that leaps out at me for Black Myth: Wukong and Game Science is with CD Projekt Red: games with high ambitions in technical, narrative and design terms that often fell short in the execution at launch, but were then subject to unusually extensive post-release support that progressively beat these rough gems into shape and earned the undying loyalty of their fans. As a certified woke leftist, I try to avoid most of the tiresome culture war nonsense that many here seem to revel in, but there are some interesting parallels in that regard too. The original Witcher game had a mechanic whereby sleeping with the game's female characters would award the player a card with artwork depicting them in a state of undress, creating (in the eyes of some critics) a "gotta catch 'em all!" mechanic that objectified the female characters in question. CDPR insisted that their intentions had been misunderstood, but what was unfortunate about that controversy is that is that overshadowed the game's otherwise commendable depiction of its female characters with diverse and interesting personalities, backstories, motivations, etc. Of course, in Witcher 2 the cards and their artwork were gone but the robust characterisation remained.
