Liu Cixin’s novel The Three-Body Problem (Santi) won the 2015 Hugo Award, bringing global attention to Chinese science fiction. The television adaptions of The Three-Body Problem in China (2023) and the United States (2024) have further fuelled interest in the genre’s evolution. In this context, Chinese Science Fiction: Concepts, Forms, and History, edited by Mingwei Song, Nathaniel Isaacson and Hua Li, emerges as a timely and invaluable resource. This comprehensive volume examines the evolution, defining features and global contributions of Chinese science fiction, offering profound insights into its historical development and contemporary significance. Moreover, it provides readers with a unique perspective on China’s technological innovations and social transformations, as reflected in the imaginative realm of science fiction.

This book offers a robust framework for understanding Chinese science fiction within its broader cultural and literary contexts. It is structured into three parts and 13 chapters, focusing on the conceptual debates surrounding “science and fiction,” the formal interplay of media and genre, and the transcendence of the Anthropocene and utopian ideals in Chinese science fiction. It highlights the unique developmental trajectory and conceptual framework of the genre in China.

The first part examines the contest between science and fiction, revealing not only a clash between scientific culture and humanistic thoughts but also a struggle for discursive authority that emerged as early as the late Qing Dynasty. Lorenzo Andolfatto explores Kang Youwei’s Book of the Heavens (Zhutian jiang), illustrating how his cosmological inquiry shaped a more dynamic yet flawed epistemological foundation at the intersection of science and literature in late Qing dynasty. Liyuan Jia explores the imaginative portrayal of intelligent humanoid machines in late Qing literature. Guangyi Li examines the study of electricity and its envisioned world order through science fiction of the same period. Meanwhile, Virginia L. Conn analyses the translation of key terms such as “Chinese,” “science” and “fiction,” shedding light on shifting public perceptions and an evolving conceptual framework.

The second part examines the dissemination, development and impact of Chinese science fiction from a cross-media perspective. It includes Qiong Yang’s exploration of the role and influence of newspaper editors as creators of Chinese science fiction; Melissa Hosek’s analysis of the evolving image of Chinese science fiction from the Mao era to the Deng era through a cinematic lens; Hua Li’s study of the characteristics and concepts of Chinese cyber literature, using the popular novel Forty Millennia of Authenticity Cultivation (Xiuzhen si wan nian, also translated as Forty Millenniums of Cultivation) as a case study; and Heather Inwood’s investigation into the unique spatial imaginations that shape Chinese online science fiction. These discussions are deeply intertwined with Chinese social culture, emphasizing that Chinese science fiction is both a projection and a reflection of the nation’s social realities.

The third part places the development of Chinese science fiction within the context of the global fiction movement, exploring the themes of Anthropocene transcendence and utopian visions. Jannis Jizhou Chen examines the pathologies and illusions of human nature in Han Song’s Hospital trilogy; Gwennaël Gaffric offers insights into Liu Cixin’s pastoral vision of the universe and its variation of a long literary tradition both in China and in the West; Frederike Schneider-Vielsäcker studies the transformation of the bodies in works by Chinese science fiction writers born in the 1980s onwards; and Mingwei Song focuses on Taiwanese science fiction, identifying its neo-baroque characteristic.

All these discussions provide a deep understanding of the defining characteristics of Chinese science fiction and the underlying mechanism of its development. The book’s exploration unfolds through several key features and insights.

First, it adopts a multifaceted narrative approach, tracing the historical evolution of Chinese science fiction through a grid-like analytical model. This framework maps the genre’s development alongside the broader trajectory of modern Chinese literature, reflecting social transition from feudalism to modernity. Historically, Chinese science fiction has mirrored aspirations for scientific advancement and social progress, aligning with national dreams of prosperity and power.

The genre’s “multiple origins” span pivotal historical periods, including the late Qing dynasty, the founding of New China, the reform and opening-up era, and the rapid technological advancements of the 21st century. These origins highlight the genre’s complex social fabric and its capacity to continuously adapt and redefine its conceptual and formal boundaries, forging a uniquely Chinese expression of science fiction.

The book also addresses enduring debates about the interplay between science and fiction, the evolution of media and literary genres, and the conceptual shifts in science fiction narratives beyond the Anthropocene and utopian frameworks. These thematic explorations underscore the intrinsic complexity of Chinese science fiction, which emerges from its dynamic interplay with social changes and its innovative reinterpretations of science fiction tropes and ontologies.

Second, the book identifies several defining features of Chinese science fiction, including its technological fascination, the emergence of cyber science fiction as a distinct literary genre, and the “new baroque” aesthetic prevalent in the Chinese-speaking world. For instance, Liyuan Jia examines how late-Qing literature represented humanoid robots, exploring their ideological roots and how they redefined the human in the context of scientific discourse. Hua Li’s analysis of Forty Millennia of Authenticity Cultivation demonstrates the fusion of biotechnology, computing and traditional xiu xian philosophies, blending ancient Chinese mythology with explorations of post-human possibilities. Additionally, Mingwei Song’s discussion of Taiwanese author Luo Yijun highlights the neo-baroque aesthetic, where apocalyptic narrative interweaves past and future, creating a richly layered exploration of time and existence.

Third, by situating Chinese science fiction within the global science fiction landscape, the book underscores its contributions to world literature. Through the genre’s imaginative engagement with past, present and future, it enriches global discourses on humanity, technology and the universe. Chinese science fiction constructs a diverse and interconnected map of narratives that resonate on a universal scale.

Chinese Science Fiction: Concepts, Forms and History not only deepens our understanding of the genre’s historical and cultural dimensions but also celebrates its role in inspiring and shaping visions of the future. With its boundless creative energy and intellectual rigour, Chinese science fiction continues to captivate global audience, guiding humanity toward an ever-evolving exploration of what lies ahead.

Meticulously researched and thoughtfully crafted, this is an invaluable resource for a diverse range of readers. It serves as an essential textbook and reference for science fiction scholars worldwide, while also supporting educators, students and researchers interested in Chinese literature. Furthermore, it appeals to general readers intrigued by Chinese science fiction and its reflections on Chinese society and culture.