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Translation Volume: 2321 chars Completed: Oct 2006 Languages: Chinese to English
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Chinese to English: “Dragons and Tile Beetles”: an Overview of Chinese Short Science Fiction in 2024. General field: Art/Literary Detailed field: Journalism
Source text - Chinese 龙与瓷砖虫：2024年本土科幻中短篇小说概览
杨枫 中文科幻数据库 2025年6月10日
Translation - English “Dragons and Tile Beetles”: an Overview of Chinese Short Science Fiction in 2024.
by Arthur Liu for the Chinese Science Fiction Database 06/10/2025
This essay is a supplement to the “Chinese Science Fiction Database 2024 Annual Recommendations List.” It mainly focuses on works selected for our list in the preliminary and secondary rounds, while at the same time covering other representative works. Overall, it is our desire that: 1. It provides a comprehensive overview of trending areas; 2. It lists many representative trends; 3. It provides a practical reading list. This is simply one group’s
recommendation, for reference only. We hope that other readers on the front lines can also bring forth more similar recommendations.
An Overview of Chinese Short Science Fiction in 2024
by Arthur Liu
According to incomplete statistics compiled by the “Chinese Science Fiction Database,” non- juvenile Chinese Short Science Fiction (new works not exceeding 75,000 characters) published on all of the various platforms numbered 823 works.
Divided by type of platform, of these 823 works, 408 (49.6%) appeared in books (primarily multiple-author or single-author anthologies), 278 (33.8%) appeared in magazines, and 137 (16.7%) appeared on internet platforms. While the data for books and magazines is relatively accurate, the scope of data collection for internet platforms was limited, so that number could be even greater.
In keeping with past tradition as to whether or not a work comes from a “primarily sci-fi” publication, each platform was further divided into “core” and “non-core,” with 212 works (25.8%) occupying core platforms, while 611 works (74.2%) occupied non-core platforms.
Core platforms include: 1. “Science Fiction World” and “SF Cube” magazines; 2. “Galaxy’s Edge” magazine, produced by Eight Light Minutes Culture; 3. The website “Tadpole Stave,” a subsidiary of the Beijing Association for Science and Technology; 4. A family of products under the banner of the Future Affairs Management Bureau, to include the “Non-Exist SF” [WeChat] account as well as a number of anthology series. Works published on these platforms hold a dominant position in selections for China’s major sci-fi awards such as the Galaxy Award and the Chinese Nebula Award. As a whole, the editors, writers, and audiences of these platforms also have continuous professional output on science fiction theory.
Among them, the relative-to-absolute proportion of core platforms has decreased slightly compared to 2023 (188/646—29.1%). This is related to some major changes that occurred in 2024, namely personnel changes at the editor-in-chief level at both Science Fiction World and SF Cube, though neither magazine’s distribution was affected. However, after undergoing revisions in the beginning of the year, the number of new, original stories published per issue increased. After a change in organizational structure, the amount of works published by both the Tadpole Stave website and the Future Affairs Management Bureau dropped significantly. The former reduced its publishing to only one or two stories per month, and the works after October were all older works from previous years. The latter’s primary means of publication was via the “Non-Exist SF” account which ceased its daily posts in July.
Out of the turmoil of these core platforms, new platforms emerged. Among them, mainstream periodicals published 150 stories, exceeding the output of the two major core publications combined (128 works). It was not limited to sporadic articles in major magazines such as People’s Literature, October, or Flower City though. Other magazines such as Frontier Literature, Literature Port, and The Literary Gazette that do not yet have a special “sci-fi” column publish a handful of science fiction stories every year. Some organizations aimed at cultivating new writers (including in recent years the establishment of several new calls for submissions) have one after another published their own anthologies this past year. For example, The Sea-Facing Ocean Guide (a collection of winners from the Niangzi Pass Sci-Fi Literature Awards), The Doctrine of Brain Hole (Volumes 1 & 2), a compilation of outstanding works from the Book Fish creative group, Space Fantasy Light Year and Future Overture, both collections of Light Year Award winners, and Out of Control Boundaries, a collection of works solicited by Fantasy Universe. The list goes on.
Considering different organizations have differing academic perceptions and business positions with regards to science fiction, one could believe these industry trends in 2024 indicate a persistent series of iterations taking place in the field—behind it lies a fierce struggle to be heard. However, when compared to the oft-raucous debates that occurred among Chinese science fiction literary circles in the 1980s, the trend of the current period embodies a more positive commercial competitiveness, evidence of the continuous development of the market.
Outside the publishing arena, discourse among science fiction circles also focused on commentary and overseas publishing.
In the realm of commentary, the industry had once lacked a dedicated platform. Readers would provide feedback to publishers on the message boards of sci-fi magazines, or they would post informal critiques via online platforms like Baidu Tieba, Douban, Weibo, WeChat Offical Accounts, and Zhihu. Other critical essays appeared scattered throughout academic journals, but they generally focused on academic analysis, with a threshold to what was read. Moreover, the topics of discussion favored classic or older works; it was difficult to cover newly-published material. In 2024, however, there were multiple influential critical platforms dedicated to science fiction. Author and former Science Fiction World editor Chi Hui launched the Ginger Cat Sci-Fi Offical WeChat Account which not only critiques new publications, it also offers publishing advice to first-time authors, as well as occasional criticism of the industry. The Blunt Commentary Awards program, founded by Ju Chu and others, is aimed at group appraisals and critiques in Science Fiction World magazine while at the same time conducting active internal calls for submissions. In the past few years, the Nebula Awards Critique, an electronic periodical founded by San Feng and others, has undergone a series of revisions. In 2024, the Book Fish Writers Group, after a suggestion from Andes Chenfeng, established an internal mentoring group which conducts training on critique-writing and selects outstanding student works to be published. The “Cyber Tavern” column, established by the Sci-Fi Encyclopedia Offical WeChat Account and launched in 2024, conducted group discussions on new works from that year. Zero Gravity Newspaper (edited by River Flow), the 2023 Hugo Award winner for Best Fanzine, also established a critic’s column.
2 positive feedback from outsourcers