Yesterday (March 11, 2026) I published a post about a new project being funded by the European Research Council (ERC) titled, SINOFANTASY – Studying Imaginative Otherworlds: Chinese Fantasy Fiction, Literary Politics, and Media Creativity.
Today (March 12, 2026) I have a story about Chinese science fiction from the Canadian Broadcasting Corporation’s (CBC) radio programme, Ideas by Nicola Luksic, which was published online on September 2, 2025, Note: the radio interview is embedded in the article,
Chinese science fiction is booming, and this makes total sense to globally renowned sci-fi writer Cixin Liu.
“Science fiction is different from traditional literature in that it can only prosper in the fastest developing, modernizing countries,” said Liu, speaking through a translator from his home in Tianjin — a city about 140km south west of Beijing.
Liu is the author of The Three-Body Problem — a trilogy adapted into a quarter-billion dollar eight-part Netflix series.
The first installment of Three Body Problem was published in China in 2006, and translated into English in 2014. In 2015 it was the first Chinese book to win the Hugo Award — essentially the Nobel Prize for science fiction.
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Luksic\s September 2, 2025 article features some interesting comments from Liu,
Sci-fi tends to thrive in burgeoning empires [emphasis mine], observes Liu, pointing to the birth of popular sci-fi in 9th-century Britain and the flourishing of American sci-fi in the 1950s and ’60s.
“Now the prosperity of science fiction is happening in China [emphasis mine], which is closely related to China’s rapid modernization,” said Liu.
“It is impossible for science fiction to prosper in a backward and slow-developing country. The prosperity of science fiction in China should be inseparable from the background of China’s rapid development, and it is this big era that is driving it.”
Liu grew up in the 1960s and witnessed massive social, technological and economic change through the Cultural Revolution to today.
“The social changes we witnessed from childhood to adulthood were probably the greatest in human history,” he said.
“This is not an exaggeration; the world around us during our childhood and adolescence is totally two worlds, and now Chinese society is still in rapid development, which makes Chinese society full of a very strong futuristic feeling, and this feeling provides a fertile soil for the development of science fiction literature.
“I think this is the most fundamental reason for the popularity of science fiction literature in China.”
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I wonder if Liu is hinting at or predicting a ‘Chinese century’ or a ‘Chinese millenium’. Liu’s claims seem a little facey to me but that doesn’t mean he’s wrong.
The September 2, 2025 article delves into the publishing environment in China,
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All publications in China are subject to review by the General Administration of Press and Publication before they can be sold on the mass market. It has the authority to censor and ban books deemed to be critical of the government, or books that promote what it sees as western values.
But that does not significantly limit the complexity of social issues and layers of story that can be told through sci-fi, according to PhD student Zichuan Gan. Originally from China’s Fujian province he is pursuing his PhD thesis in comparative literature at the University of Toronto.
“There is a very hot discussion about how Chinese science fiction is inherently non-binary,” said Gan.
“Non-binary not only in the sense of gender, not just two genders, but also in the way we think about things. Instead of putting things into black and white categories like male or female, human or machines, west or east, Chinese science-fiction often shows that reality and life are more mixed and complicated.”
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… he also points to the moral complexity of the main characters in The Three-Body Problem.
“When Western readers read Chinese science fiction, they very often assume like, ‘oh, this work has some political meaning’, but in many cases it’s not black and white, it is not propaganda, and this non-binary feature is worth discussing.”
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Gan is particularly interested in how ethical questions about the promise of technology are introduced, developed and explored in Chinese sci-fi. Having grown up in a part of China that took on a lot of the world’s e-waste over the past two decades, he is wary of what’s called ‘techno-fetishism.’ Something he defines as “a tendency to view technology as something detached from society, something immaterial, something magical.”
“Technology is not neutral,” said Gan. “We often hear that technology is just a tool and the only thing that matters is how we use technology. But in reality, who designs technology and what purpose it serves all shape the final product.”
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Here’s one last bit from the September 2, 2025 article and it’s about the history of science fiction in China,
While Chinese sci-fi is flourishing in the 21st century, the genre’s roots in the country go back to the late 1880s and into the early 20th century as the imperial period ended.
“Everything was in turmoil. The dynasties that had been in place for thousands of years were suddenly crumbling. People didn’t know what to do,” said Ari Heinrich, professor of Chinese literature and media at the Australian National University.
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“Science fiction was on the table as a way of introducing technology to build better tools for society,” said Heinrich. “So people were deeply invested in a kind of nationalist way in what kind of technologies were out there and science fiction was a way to imagine what those technologies could be.”
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[see article for image] First published in the 1880s, the fantastical illustrated journal Dianshizhai Pictorial, published three times a month out of Shanghai. (Wikimedia/Free Domain)
“It was an illustrated, widely circulated journal, and you can see these pictures in it of bizarre flying machines, like a ship in the sky with wings, but also, you know, a hot air balloon that is clearly based on an actual one,” said Heinrich.
“So from a very early period people were writing stories that had all kinds of actual technology in it, even if it was tweaked and made weird, but it was still somehow grounded in a desire to improve Chinese capacity. And you could say that’s still going on now.”
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If you have time, do check out the September 2, 2025 article and/or the embedded Ideas podcast/radio programme.
I have a few previous posts about Chinese science fiction and Chinese fantasy literature, Note: For those who are unfamiliar with the genres, they are often linked together as a category or in a story,
- Chen Qiufan, garbage, and Chinese science fiction stories (May 31, 2019 posting)
- Telling stories about artificial intelligence (AI) and Chinese science fiction; a Nov. 17, 2020 virtual event (November 16, 2020 posting)
- The science in science fiction television (scroll down to “3 Body Problem (television series)” (June 27, 2024 posting)
- SINOFANTASY – Studying Imaginative Otherworlds: Chinese Fantasy Fiction, Literary Politics, and Media Creativity (March 11, 2026 posting)
Given how important Korean pop culture has been internationally, it seems surprising that I haven’t stumbled across Korean science fiction/fantasy.