Myanmar’s Controversial ‘Scam City’ Illuminated by Casinos at Night

_{The mock Chinese city of Shwe Kokko in Myanmar’s Karen State appears as a modern hub. (Image: Shwe Kokko, Wikipedia)}

It looks like a Chinese city complete with high-rise buildings, cafes, a library and casino destinations. The location is marketed as a resort city, a safe holiday destination for Chinese tourists and a haven for the super-rich.  

The ambitious $15 billion venture boasts luxurious villas, casinos, and even a cyber park. The facade, it is claimed, hides something darker. It is reportedly claimed that this is a place to harbour a network of scams, including people trafficking, forced labour, illegal gambling and money laundering.

Facade City Looks Like a Place of Wonder 

The BBC recently visited the mock Chinese city of Shwe Kokko, which is located in Karen State in Myanmar. A place ravaged by war and yet this newly built city looks for all intents and purposes to be a wonderful place of opportunity. 

The city project is backed by a Chinese company known as ‘Yatai,’ owned by gambling kingpin She Zhijiang, who is currently sitting in a Bangkok jail awaiting extradition to China.

The BBC news item revealed a massive construction site amidst a war zone. Questions remain over the business model and its. Despite marketing on giant billboards claiming significant strides in eradicating scams and human trafficking, the BBC saw a different picture on the ground.

Despite the appealing facade, the city looked deserted. The BBC was not allowed access to building interiors, with officials citing privacy concerns. 

Local residents, however, have whispered that illicit activities persist behind the scenes, with signs of ongoing scam operations evident in the city's underbelly. 

Casinos Illuminate the City at Night 

At night, Shwe Koko transforms as nine casinos illuminated with bright lights invite visitors, predominantly targeting Chinese gamblers. Yet, reports indicate a significant lack of clientele.

Inside, striking karaoke rooms reveal an unsettling reality: young Chinese women, seemingly part of the entertainment workforce, occupy the space, while the likeness of the imprisoned She Zhijiang looms from screens, promoting his vision for the city.

As Shwe Koko continues to develop, questions linger about its future, the well-being of its workers, and the potential ramifications for the wider Myanmar context.