Amidst the backdrop of the World Science Fiction Convention held in Chengdu, the capital of Southwest China’s Sichuan Province, from October 18 to 22, the rise of Chinese science fiction is evident. For enthusiasts like Zhai Keyan, a 32-year-old video producer, the journey into the world of science fiction is a testament to the genre’s expanding influence. Taking inspiration from renowned authors like Liu Cixin, Zhai has successfully published two novels online.
Liu Cixin’s fame has grown exponentially over the years. Recollections of a 2010 book-signing event in Chengdu saw just over 300 people queuing for Liu’s signature after the release of “Death’s End,” the final part of the acclaimed Three-Body trilogy. Fast forward to the recent convention, and an overwhelming 3,000 individuals eagerly awaited their turn, with some traveling great distances from places like Shanghai and Lanzhou, to meet the author.
However, Liu remains modest about his impact on Chinese science fiction. While admitting that the genre has come out of the shadows and into the spotlight, he believes that China’s sci-fi scene is still developing. The country needs more influential writers and works to truly make its mark.
Nonetheless, there are clear indications of Chinese sci-fi’s rising stature. At the WorldCon event, the Chinese novelette “The Space-Time Painter” penned by Hai Ya, clinched the Hugo Award for Best Novelette. This narrative revolves around Wang Ximeng, a painter from the Northern Song Dynasty, and his masterpiece “A Thousand Li of Rivers and Mountains.” Despite such accolades, Hai, who currently works in the financial sector in Shenzhen, remains grounded. He regards himself more as a sci-fi enthusiast than an established author.
Hai highlighted the distinction between sci-fi and scientific writing, emphasizing that not all sci-fi literature must adhere strictly to scientific facts. For him, it’s about fostering an appreciation and admiration for science among readers.
Other authors, like Jia Yu, a three-time Galaxy Award winner, have found recognition by exploring less conventional topics. Jia, for instance, focuses on local geological explorations instead of the more common space themes.
Wang Jinkang, a decorated engineer-turned-sci-fi-author, acknowledged the achievements of Chinese novelettes but feels that the longer form of novels requires enhancement. He stresses the universality of science fiction as a genre that transcends national boundaries.
Adding an international perspective, Robert Sawyer, a celebrated Canadian sci-fi writer, urged emerging Chinese authors to create stories rooted in their nation’s rich 5,000-year history rather than emulating Western narratives.
On a more grassroots level, writers like Zhai have voiced concerns that long work hours can stifle creativity. However, authors remain optimistic that the rapid progression of China in various spheres will invigorate the nation’s science fiction scene. As Wang aptly summarized, the trajectories of science fiction, the nation’s economy, and technological advancements are intertwined, promising a luminous future for Chinese sci-fi literature.
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