Why is China experiencing a boom in fantasy and science fiction literature?

How did this boom come about?

That is precisely what my team and I want to find out in our research project. We want to identify the dynamics that generated this enthusiasm and supported it in a neoliberal and at the same time highly authoritarian state.

Basically, I believe that both genres were simply exciting at first. Fantasy and science fiction brought a new diversity to the literary market. In addition, both genres have now diversified so much that everyone can find their own niche and community. Furthermore, science fiction literature, for example, is a successful tool for conveying a new image of China, one characterised by advanced technology and innovation.

“The texts open up important spaces for discourse and reflection, allowing alternative historical narratives to unfold and taboo topics to be dealt with allegorically.”

Junior Professor Dr. Jessica Imbach

Department of Chinese Studies, University of Freiburg

What questions do you use to approach this complex literary cosmos?

On a more individual level, we address specific questions relating to the respective texts. How is China portrayed in these works? What social models, themes or conflicts are discussed? Our aim is to highlight the main themes in individual texts.

Can the analysis of Chinese fantasy and science fiction literature help us understand the authoritarian regime in China?

First of all, we have to tread carefully here: Chinese fantasy and science fiction literature is not a direct reflection of reality. The field is extremely diverse. If we were to read everything, we would probably not get to know one China, but a thousand different Chinas.

Nevertheless, fantasy and science fiction literature can be very revealing, especially in view of the country’s strict media censorship. The texts open up important spaces for discourse and reflection, allowing alternative historical narratives to unfold and taboo topics to be dealt with allegorically. Works can, for example, reflect on questions of power, history, gender roles or social norms in alienated forms – and thus, for example, envision a future in which there is no Communist Party or women do not marry and have children. This textual diversity makes it possible to broaden our view of China beyond the usual political headlines.

How are these genres primarily consumed today – as traditional books or in digital formats?

The majority of novels are actually read in digital formats. In addition, many online forums have emerged where readers can discuss their favourite authors or subgenres. What we in the West know as BookTok has been around in China for several years. It started when a few individuals began publishing their own writings on the internet.

That has certainly changed today…

Yes, today there is a large market for both genres, which are also highly commercialised. One example of this is that fantasy authors are paid per chapter, resulting in endlessly long texts on literary platforms.

The predominantly digitised book market is also opening up new forms of authorship – especially in connection with Artificial Intelligence. We will also examine these aspects as part of our project.

“Fandoms are a key driver of literary dynamics in China. Readers engage with literary material by writing fan fiction or organising online discussions, thereby actively contributing to the popularisation of authors and genres.”

Junior Professor Dr. Jessica Imbach

Department of Chinese Studies, University of Freiburg

What role do fan communities that form on digital platforms play?

Fandoms are a key driver of literary dynamics in China. Readers engage with literary material by writing fan fiction or organising online discussions, thereby actively contributing to the popularisation of authors and genres.

At the same time, there are problematic aspects that we are also familiar with here in the West. In so-called “toxic fandoms,” for example, misogynistic forms of communication can prevail or violent group dynamics can develop. State actors monitor fandoms in China very closely, as the emotional attachment of fans to authors, works or genres can, under certain circumstances, be stronger than their loyalty to state narratives. Excessively intense fan behaviour is therefore sometimes considered unhealthy or socially problematic, which is perceived as a politically explosive.

How do you maintain an overview of the literature for your project?

When I first started exploring Chinese fantasy and science fiction literature, I didn’t know where to begin. There was no roadmap. We want to change that in the first phase of our project by developing a digital encyclopaedia of contemporary Chinese fantasy. In it, we aim to systematically map the most important texts, authors, concepts and debates.

We will then move on to a detailed analysis phase and work on the individual texts, largely using qualitative methods.

What are you looking forward to when you think about the upcoming project and the work you will be doing at the University of Freiburg?

Now it’s time to really get started with the work – together with my team. The funding from the ERC Starting Grant has enabled me to hire doctoral and postdoctoral researchers. There are now five of us working on this project, and I find the collaboration very enriching.

I am also very much looking forward to working on our encyclopaedia, systematising the diversity of Chinese fantasy and science fiction literature and thereby providing a research basis for further reflection by other scholars and interested parties.