CHENGDU, China. The spotlight of the science fiction world shone brightly on Chengdu, China, in October 2023 as the city hosted Worldcon, the genre’s largest annual event, for the first time. Fans from across the globe converged, reveling in a celebration of the arts, free from the complexities of China’s diplomatic relations and its tightening controls on expression.
Among the attendees was Tao Bolin, an influencer from Guangdong province, who sensed a newfound global interest in Chinese literature. The event was marked by a sense of unity as fans and authors mingled within the striking confines of the newly unveiled Science Fiction Museum, a creation of the renowned Zaha Hadid Architects, resembling a colossal steel starburst poised over a serene lake.
Yet, the euphoria of the event was short-lived. Months later, controversy clouded the horizon as allegations surfaced suggesting that the organizers of the Hugo Awards, the pinnacle of recognition in the sci-fi realm, had caved to pressure from Chinese censors, disqualifying certain candidates.
This saga encapsulates the tumultuous journey of Chinese science fiction, evolving from a marginalized niche to a thriving cultural export. Over four decades, it has battled political suspicion and navigated geopolitical obstacles. Notably, author Liu Cixin emerged as a global icon, with an international fan base including luminaries like Barack Obama and Mark Zuckerberg.
Now, with a lavish Netflix adaptation of his masterpiece “The Three-Body Problem” slated for release in March, Chinese sci-fi stands at the brink of its widest audience yet.
The trajectory of Chinese science fiction’s international ascent traces back to a pivotal moment three decades ago, when a small group of visionaries, led by Shen Zaiwang, a provincial bureaucrat with a passion for English translation and Jules Verne, embarked on a mission to salvage a writers’ conference amidst global skepticism following the Tiananmen Square crackdown.
Despite decades of suspicion and suppression, the genre resurged in the post-Mao era, with authors like Zheng Wenguang and Ye Yonglie pioneering stories of space exploration. However, political headwinds threatened to snuff out this creative renaissance during the ’80s.
Undeterred, the team behind Science Fiction World, headquartered in Chengdu, persisted, organizing international events and reshaping public perception of the genre. In 2006, the serialization of Liu Cixin’s “The Three-Body Problem” marked a watershed moment, captivating readers both at home and abroad.
Yet, this newfound acclaim didn’t come without controversy. Liu’s work, while celebrated globally, drew criticism for its defense of Chinese government policies, notably in Xinjiang. The recent Hugo Awards scandal further underscored the delicate dance between artistic expression and political sensitivities in China’s cultural landscape.
Nevertheless, the future of Chinese sci-fi appears promising. A new generation of authors, such as Regina Kanyu Wang and Tang Fei, is poised to carry the torch forward, exploring themes of gender identity and environmentalism that resonate with younger audiences.
As tensions persist, proponents like Yao Haijun, editor-in-chief of Science Fiction World, remain steadfast in their belief in the genre’s transcendent power to bridge cultures and foster understanding, even in the face of adversity. As Yao puts it, “As long as there is communication, we’ll be able to find some things in common.”
Paraluman P. Funtanilla
Paraluman P. Funtanilla is Tutubi News Magazine's Marketing Specialist and is a Contributing Editor. She finished her degree in Communication Arts in De La Salle Lipa. She has worked as a Digital Marketer for start-up businesses and small business spaces for the past two years. She has earned certificates from Coursera on Brand Management: Aligning Business Brand and Behavior and Viral Marketing and How to Craft Contagious Content. She also worked with Asia Express Romania TV Show.
