Pixel Scroll 8/8/24 I Filed The Scroll, And The Scroll Won

(1) GLASGOW 2024 IN MEMORIAM LIST. The Worldcon In Memoriam 2024 was played today during Opening Ceremonies.

This is a listing of members of our community who have passed away since the last In Memoriam list was compiled for Pemmi-Con and Chengdu last year. This covers the period from July 9, 2023 to July 15, 2024. Any submission received after the 15th July was passed along to Seattle Worldcon.

(2) BIG HEART AWARD. The recipient was honored during Opening Ceremonies. “This award is given to those who go above and beyond in welcoming new people to fandom, and supporting the ideals of fandom.”

(3) SPECIAL COMMITTEE AWARD. Glasgow 2024 is giving a Special Committee Award to the game Dungeons & Dragons. The award is described as “an armadillo with a traffic cone on its head, and a resin die underneath it”. Okay. Photograph on Flickr.

(4) CHINESE VIDEO TOUR OF GLASGOW DEALERS ROOM. [Item by Ersatz Culture.] From the Eight Light Minutes publisher’s Weibo, a 47 minute video. See it at the link: 2024Worldcon  @八光分文化的微博 – 微博. I think there might be footage of other areas, but I only skim-watched bits of it.

(5) A NATION OF RIBBON CLERKS. Here are a couple examples of private edition ribbons people are handing out at Glasgow 2024.

Hugo, Girl! podcast is distributing this set. (Photo courtesy of Scott Edelman).

On behalf of Diabolical Plots:

(6) A CALL FOR GRACE. Caitlin R. Kiernan suspects their criticisms here will be “Falling on Deaf Ears”, a blog entry at Dear Sweet Filthy World.

…I made [two posts] to Facebook, and I will say up front, yes, both were inspired by the way I’ve seen George R.R. Martin slurred and mocked over nothing in the past couple of weeks. The most childish, mean-spirited, petty shit, and often from authors I thought I respected, who I would have imaged to be above schoolyard taunts. Generally, I usually miss the stuff, Writers bore me, and I tend to avoid them online….

[The second was:] We are all standing on the shoulders of giants. Don’t like that? Tough. We can do what we can do because someone was there before us. This is very true in publishing, maybe especially true in speculative fiction. And we should show respect to our elders (and that’s what they are), even when their poltics do not align with our own. You think you’d have as many opportunities had there never been a, say, George R.R. Martin? Really? We *owe* these people. They opened doors, and, you know, if they don’t fit *your* sensibilities, stop and think of all the reasons that might be. Jesus, did we forget how to cut folks some slack? I think we did. This is not about who was the most transgressive or progressive at some earlier point in history; this is about having the decency to respect those who have gone before. Egalitarianism is all fine and well, until it becomes an excuse to act like a shit.
Postcript: Fuck, I’m 60. Stop and try to imagine what it was like just getting publishers to buy stories about queer and trans characters when I began publishing in 1993…

…This is why I have never been part of this “community,” why I have never even really tried….

(7) MEANWHILE, ABOUT THOSE CHENGDU HUGOS. The Chengdu Worldcon Hugo Awards belonging to non-attending winners arrived in the United States in late January, but as Dave McCarty told Chris Barkley, all of the display cases and some of the awards were damaged in transit from China. They either needed to be repaired, or replacement parts made. There having been no word five months later, in June, Barkley started asking those waiting if they’d gotten theirs. Nope. Now there’s been some action – and the results are alarming. Here’s a Hugo just received by a Hugo, Girl! podcaster.

(8) CLARION WEST COMMENTS ON GAIMAN, DISCUSSES THEIR POLICIES. Clarion West has posted a statement about the allegations against Gaiman and more specifically about how they select instructors and respond to sexual harassment or abuse at the workshop. They issue a call for transparency and action in the SFF community as a whole. “Silence Does Not Lend Itself To Change”.

News of the allegations against Neil Gaiman began breaking as this year’s six-week workshop hurtled into its third week. As we emerge from the workshop and have time to process this news, our board and staff want to take a moment to recognize that a culture of silence and protecting prominent authors has been widespread in the SFF community, and that it often disproportionately affects the most marginalized and vulnerable in our society. The silence, and its impact, is not acceptable. 

This is an important conversation for everyone in the SFF community about protecting the most vulnerable in our industry from predation, and how to learn to listen to victims and make it easier for them to come forward without causing them further harm.

The Clarion West board of directors and our entire team are deeply invested in establishing a safe and harassment-free environment for those who participate in our programs. 

How do we do this? 

We believe that personal behavior is as important as professional standing and endeavor to make selections for instructors based on what we know of their personal and professional comportment. The process for instructor selection allows for concerns to be heard, both during selection meetings and privately. 

To address concerns around instructor behavior, Clarion West has had a written instructor policy against harassment or sexual misconduct with students for at least 25 years. This policy is given to every workshop instructor. Neil Gaiman received a copy of this policy when he taught for us in 2013. Organizers were not aware of accusations or inappropriate behavior by Gaiman prior to inviting him, nor were they made aware of any abusive behavior during his tenure. 

In more recent years, the organization has created and posted our Code of Conduct and an Anti-Harassment Policy publicly. We’ve made significant efforts to improve the process for students, staff, and community members to report harassment as well as the procedure for investigation and follow-up. The organization seeks to create transparency around the workshop and all programs. 

Clarion West takes any reports of misconduct among our community members seriously and is dedicated to improving the experience of writers in speculative fiction, especially those historically underrepresented in publishing. We pledge to continuously review and update our policies, investigate accusations thoroughly, and work toward maintaining safe and inclusive spaces.

If you have information to share, concerns or questions about our policies, or wish to report abusive behavior related to the workshop or other Clarion West programs, please contact us at report@clarionwest.org

(9) JEFF WARNER OBIT. Veteran conrunner Jeff Warner, who co-founded I-CON, has died. Michael Dauenheimer paid tribute on the convention’s Facebook page.

For those of you who weren’t fortunate enough to know Jeff Warner, he showed a life-long devotion to Science Fiction fandom. As a Stony Brook student, Jeff was one of the founding members of I-CON, helping to plan and run the first one on the SB campus in 1982.

He was also heavily involved with the Science Fiction Forum during his students years and continued to show concern and be involved when he could, attending reunions and staying touch with old friends.

Jeff was one of a kind. One of those unforgettable characters that you thought only existed in movies. He was definitely a people person and showed more “team spirit” than any athlete possibly could. When it came to conventions, Jeff tried to attend as many as he could, more often than not, volunteering to help them run. To him it was his passion to promote and foster Science Fiction fandom….

He will be greatly missed by many. He will not be forgotten.

Warner was briefly onscreen and is named in the credits of The People vs George Lucas (2010), a documentary about Star Wars fans. He was active as a File 770 contributing editor, supplying the titles of three Scrolls: Pixel Scroll 9/4 The Scrolling Stones, Pixel Scroll 12/28/19 Pixel Gadol Hayah Scroll, and Pixel Scroll 2/4/24 Pixel, Pixel, Scroll And Stumble. File Churn And Cauldron Double.

(10) COMICS SECTION.

(11) I GET MY SIDEKICKS FROM. [Item by Daniel Dern.] A CBR.com columnist granted a reader’s wish to give superheroes kid sidekicks: “Line it is Drawn: Superheroes Gain New Kid Sidekicks”. The image of Doctor Manhattan’s new sidekick Kid Manhattan image is obviously (to those of us with long memories etc) an homage to this Superman cover (per “Supergirl’s First Comic Appearance: Everything Fans Need To Know”.

(12) GOOD NEWS FOR FANHISTORIANS. Richard Graeme Cameron was happy to announce today that the audio department of the Special Collections Library at Simon Fraser University of Burnaby B.C. has offered to conserve and digitize the audio tapes of early VCON convention events. The other day Cameron had put out a plea for a collection that would take responsibility for them.

Simon Fraser University Science Fiction Society (SF3) was one of the three organizations sponsoring the first VCON back in April of 1971. The other two sponsors were the B.C. Science Fiction Association (BCSFA) and the University of B.C. Science Fiction Society (UBC SFFEN). Note that SFU fen contributed to ongoing VCONs for many years thereafter.

I am absolutely thrilled, in that at some point in the near future interested fen world-wide will finally be able to hear these treasured recordings from the past.

Precise details have yet to be worked out, but I am confident the tapes will be transferred well before the end of the month and conservation work begun.

(13) I CAN’T BELIEVE MY EARS. “Cate Blanchett says ‘no one got paid anything’ for ‘Lord of the Rings’” according to CNN.

Actress Cate Blanchett may have starred in the box office smash hit “The Lord of the Rings: The Fellowship of the Ring,” but, according to her, that money didn’t trickle down to the cast.

During an appearance on “Watch What Happens Live with Andy Cohen,” Blanchett played “Plead the Fifth” and was asked about the film for which she received the biggest paycheck.

“I think it’s probably ‘Lord of the Rings,’” Cohen suggested

“Are you kidding me,” Blanchett said as Cohen expressed surprised. “No. No one got paid anything to do that movie.”

When Cohen asked whether she “got a piece of the backend,” referring to the practice of big stars getting a percentage of the ticket sales, Blanchett said no.

“That was way before any of that,” she said. “No, nothing.”

Blanchett said she did the 2001 film for the chance to work with Peter Jackson, who directed “The Lord of the Rings” trilogy.

“I wanted to work with the guy who made [1992 horror comedy film] ‘Braindead,’” she said. “I mean, I basically got free sandwiches. And I got to keep my ears.”…

(14) ICONIC ANIMATION. One of the items in Heritage Auction’s “The History of Animation – The Glad Museum Collection Signature® Auction” running from August 16–19 is this cell from “The Jetsons Opening Title Sequence: Judy and George Jetson”.

It’s time to meet ponytailed “Daughter Judy” as daddy George gets her ready to zoom to class, in this iconic image from the classic opening sequence of this beloved animated series. This is an extremely rare original hand-inked, hand-painted 12 field two-level production cel setup with an original Jetsons sky view production background painting, gouache on board. The Jetsons originally ran on ABC-TV for a single 24-episode season in 1962-63…

(15) COLLABORATORS AND QUISLINGS. The UK’s Society of Authors is concerned about publishers licensing their catalogues to AI companies.

(16) SWIPER, DON’T SWIPE. And the Creators’ Rights Alliance has sent a warning to AI technology companies.

The Creators’ Rights Alliance (CRA) has today (7 August 2024) reaffirmed that its member organisations and the creators that they represent do not consent to their works being used to develop generative artificial intelligence (AI) by sending letters to AI technology companies.

The CRA, which represents over 500,000 creators through its member organisations, said that they ‘do not authorise or otherwise grant permission for the use of any of their works protected by copyright and/or related rights (including performers rights) in relation to, without limitation, the training, development, or operation of AI models.’

Download the full letter here

To date, generative AI models have been developed using vast amounts of copyright-protected work without consent, transparency over data sources or remuneration for rightsholders and creators. The copying of rights-protected works without authorisation is against UK law.

[Thanks to Cat Eldridge, SF Concatenation’s Jonathan Cowie, Steven French, Dan’l, Ersatz Culture, Marnee Chua, Kathy Sullivan, Teddy Harvia, Mike Kennedy, Andrew Porter, John King Tarpinian, and Chris Barkley for some of these stories. Title credit belongs to File 770 contributing editor of the day Soon Lee.]

Interview with 2024 Hugo Award Finalist Han Song

Han Song 韩松

INTRODUCTION: Eight Light Minutes(8LM) Culture of Chengdu has given permission for File 770 to reprint the series of interviews with Chinese science fiction writers which they have been running this week on Facebook. The second in the series is a question and answer session with Han Song, whose short story “Answerless Journey” is a 2024 Hugo Award finalist.

SUPPORTING CHINESE WRITERS SERIES: 2024 HUGO AWARD NOMINATION INTERVIEW WITH HAN SONG

Translated by Xueting C Ni.

Han Song 韩松, born in Chongqing, is a renowned science fiction writer, deputy chair of the Science Fiction Literature Committee (China Writer’s Association). Key works include “Tombs of the Universe”, 2066 Red Star Over America, Red Ocean, Railway Trilogy, Hospital Trilogy, The Solo Singer, and The Rebirth Bricks. Winner of the Chinese Galaxy Awards, Chinese Nebula Awards, World Sinophone Science Fiction Art Awards, and is considered one of Chinese science fiction’s “Four Heavenly Kings”. His works have been translated into English, Japanese, French, German, and Italian, among other languages. “Answerless Journey” has been shortlisted for 2024 Best Short Story Hugo Awards.

Q1. Hello Mr Han, first of all, congratulations on the nomination of your work “Answerless Journey” for this year’s Best Short Story Hugo Award! A lot of sci-fi fans, especially the early adopters of the genre in the country have been endlessly excited by this nomination. We’d like to take this opportunity to discuss Answerless Journey with you, and your writing experiences, about which we know readers have all been hoping to know more. Do you have anything to say directly to the fans and readers who have supported you, regarding this nomination?

Han Song: For the considerable achievements made by science fiction, we should thank the support of readers and sci-fi fans. I would also like to thank Science Fiction World who published this work, and Yao Haijun, who selected it for publication in an overseas anthology. Aside from this, I urge everyone to pay more attention to domestic science fiction, for example, the excellent works that have come to light via the Chinese Nebula, Galaxy, and Lenghu Awards.

Q2. “Answerless Journey” might not be familiar to younger, or overseas readers, could you talk a little about the creative processes behind this work? For example, I remember it has an alternate title, “The Third Party”, right?

Han Song: It tells the story of a spaceship, on which a single passenger wakes to find they’ve lost their memory. Feeling that there should be fellow travelers, they search the ship for them. This short story was first published in Science Fiction World in 1994 and won the Nebula. “The Third Party” could refer to the third passenger on the ship, or something else. Why did I write it? Probably because at the time, I was interested in space science fiction. “Tombs of the Universe” was also about the same subject. I no longer remember the specific opportunities that arose to write those pieces.

Q3. A lot of people may find that premise familiar from sci-fi films like Pandorum or Passengers, but because of the variety of paths creativity can take, these themes could be taken in widely differing directions. How did you construct the ending of “Answerless Journey”?

Han Song: As the title suggests, the ending of this story does not provide an answer, “the third party” remains an unknown. Perhaps the universe itself is a place that does not offer answers, this was probably how I thought about it at the time.

Q4. Compared to your famous short story “Tombs of the Universe”, “Answerless Journey” focuses on the universe as a still unknown entity, progressing towards the development of specific lifeforms, what was your thinking behind this?

Han Song: Because life and the wisdom it contains is the most incredible product of the universe, it has manifold meanings. It’s undeniably magnificent, and yet utterly absurd. It’s one of a kind. I have always found it strange why the universe must contain life? What’s wrong with not having any life?

Han Song’s collection of classic short and medium form works, Tombs of the Universe.

Q5. Does “Answerless Journey” have any special significance for you as an individual? How does it relate to your later works, such as the sense of bewilderment towards the outside world in 2066: Red Star Over America, and the terror of confined spaces in The Railway Trilogy?

Han Song: I prefer this short story. Regarding my later works, they are also permeated with this kind of fear, absurdity, and emptiness. Of course, there’s also a strange kind of sacredness to it. The kind felt by the god that gave life to humanity when witnessing their survival in absurdity. This is how they relate to each other.

Q6. Absurdity, irrationality, and speculation on the nature of existence, have always been distinguishing elements that set your work apart from a lot of traditional science fiction. Could you share your views on this kind of sci-fi?

Han Song: It’s a process by which a strange world that obeys certain rules of Physics (and isn’t entirely spiritual) is created through thought or imagination, as a means to express humanity’s feelings, ideals and circumstances as an art form.

Han Song – “Creating A Kind of Reality Afresh”, collected in The Oral History of Chinese Science Fiction, Vol. 2, Eight Light Minutes Culture, Chengdu Times Publishing House.

Q7. How did you decide to pursue the writing of science fiction in the first place? Were you influenced by other famous writers? What do you think of the relationship between literary and genre fiction?

Han Song: During the late 1970s, early ‘80s, I read a lot of foreign, as well as domestic sci-fi, and became interested in writing it because of this. I didn’t feel there was any difference between literary and science fiction. Death Ray on Coral Island was one of the first works I came across, published in People’s Literature. I still remember seeing it in the Contents page, and it captivated me straight away, so I flicked through to it and read it, I didn’t feel it was different from any other contemporary literary work.

Q8. When you’re creating science fiction, what kind of mindset would you find yourself in? For instance, would you be more concerned about the rigor of the scientific theory, or the world outside of what can be defined by science, searching for some kind of poetics arising out of eastern cultures, or that which is probable?

Han Song: both aspects should be considered, even if you don’t write the entirety of a certain scientific concept into a work, you should understand it, in order for the work to possess a kind of underlying science fiction feel, and not feel like fantasy. But in the end, at least for me, what I seek is beyond science, or what science is unable to cover.

Han Song’s science fiction short story collection The Rebirth Bricks.

Q9. You once said that writing science fiction is similar to news reporting. How do you perceive sci-fi and the modernisation of humanity, especially with regards the relationship between specific social occurrences and individual experiences?

Han Song: What science fiction describes can feel very real; therefore, it shares commonalities with reportage. Sci-fi itself is a product of industrial modernisation, the product of 19th century Britain, the home of the Science Revolution. We should say that specific social events will always be reflected in the individual’s experiences. Especially in science fiction, which more directly depicts social progress than other types of literature, as well as the evolution of humanity as a whole. It is on this level that social occurrences can intersect with individuals.

Q10. You share a lot of insights from your work and daily life on Weibo, we all love reading your posts. Compared to traditional media, what do you think is the role and significance of social media?

Han Song: Compared to traditional media, the internet, and social media are a lot more convenient, and can also be more directly outward facing, it’s where feedback can be gained. But really, I only use it out of habit.

Q11. Looking back at your depiction of virtual reality in The Anonymous Link over two decades ago, compared to today’s landscape of metaverse and AI Large Language Models, how do you feel about it?

Han Song: The artificial intelligence I imagined at the time was an all-knowing, all-capable entity, approaching a “god”. Today’s LLMs sometimes give me the kind of “god-like”, or “demi-god” feeling from science fiction.

Han Song, The Anonymous Link Titular work collected in Selected Works of Chinese Metaverse Science Fiction, Eight Light Minutes Culture, New Star Press.

Q12. What kind of recent subjects would move you to writing new works? Do you have any new writing plans that can be exclusively shared with us?

Han Song: At the moment, I’m not writing anything new, just tidying up some unpublished ones, for example, pieces about Tibet, and the moon. As for whether they’ll ever be published, it’s very hard to say, but that is a secondary concern for me.

Q13. What do you think of the fact that more and more Chinese sci-fi works are reaching the world stage? Today, there’s high global interest in Chinese science fiction. How will this affect future writers?

Han Song: Science fiction was an imported genre, but it has taken root in China, and become part of how the Chinese understand the universe. Now it has returned to the world, astonishing foreigner readers: “oh, this is how they see it.” Chinese sci-fi itself has been a product of high levels of openness and exchange, so it’s only by integrating themselves further into the world, that today’s authors can create works that belong to them as an individual, as well as to humanity.

Q14. Thank you for agreeing to be interviewed, Mr Han, amidst your very busy schedule. We wish you good health and look forward to hearing the news from the Hugo Awards. As a final question, let’s play a little game: could you give us three words that correspond to “memory”, “journey” and “answer”?

Han Song: “Loss”, “terminal”, “unresolvable”. Thank you.

Interview with Wang Jinkang, 2024 Hugo Finalist

Wang Jinkang (王晋康)

INTRODUCTION: Eight Light Minutes(8LM) Culture of Chengdu has given permission for File 770 to reprint the series of interviews with Chinese science fiction writers which they have been running this week on Facebook. The first one is a question and answer session with Wang Jinkang, whose novella Seeds of Mercury is a 2024 Hugo Award finalist.

SUPPORTING CHINESE WRITERS SERIES (1): 2024 HUGO AWARD NOMINATION INTERVIEW WITH WANG JINKANG

Translated by Joseph Brant.

Wang Jinkang(王晋康) was born in Nanyang, Henan Province in 1948. He is a senior engineer, and a member of the Chinese Writer’s Association (CWA), The China Popular Science Writing Association (CPSWA), The Committee of Scientific Literature and Art, and the Henan Writers’ Association. Since the publication of his first story, The Return of Adam, in 1993, he has published over 90 short works, and 20 full novels, including Cross, We Together, Escape from The Mother Universe, Parents of Heaven and Earth, and Cosmic Crystal Eggs, totaling over six million words. He has won China’s Galaxy Award 16 times, as well as The Chinese Science Fiction Nebula’s Lifetime Achievement Award. He is considered one of Chinese science fiction’s ‘Four Heavenly Kings’, and his emblematic work Seeds of Mercury was shortlisted for the 2024 Hugo Award for Best Novella.

Hello Mr. Wang! Before we start, I would like to congratulate you on Seeds of Mercury’s shortlisting for 2024’s “Best Novella” Hugo Award. This is news that has excited countless Chinese science fiction fans. Ever since the publication of Chinese Science Fiction: An Oral History, readers have commented that your contributions have particularly appealed to them and would like to know more about your life and work. Hopefully, this long-awaited interview will provide some of the insights the sci-fi community has longed for.

Q1Mr. Wang, despite having produced many great works, this is the first time you’ve been shortlisted for the Hugo. How did you feel when you learned that you’d been shortlisted?

Wang Jinkang: Of course I was elated. Although I’ve won many awards in China, in fact the most Galaxy Awards in history, this is the first time I’ve been shortlisted for a Hugo. It felt like 31 years ago, when I first saw The Return of Adam in print, and when I won my First Galaxy Award. I think every author experiences these moments of excitement. It’s excellent that Chinese science fiction has reached a certain level, after years of growth, it’s now more and more visible internationally, which is fantastic. Of course, what we value even more, is these works transcending their era, and surviving the tides of time to reach future generations.

Chinese Science Fiction: An Oral History in three volumes by Eight Light Minutes Culture, Chengdu Times Publishing House.

Religion and Science are enemies who love each other.

Q2Mr. Wang, as one of the ‘Four Heavenly Kings’ of Chinese science fiction, you’re already very well known in China, with a creative career spanning over thirty years, with works such as Leopard Man, Ant Life and Survival Experiment and so on. This shortlisted work is such a quintessential piece. However, this interview is not just intended for the Chinese sci-fi fans, but for readers around the world, who may not be familiar with Seeds of Mercury. Could I ask you to introduce it for the benefit of the overseas sci-fi fans?

Wang Jinkang: Seeds of Mercury is a two-threaded story. The first one follows a female scientist named Shawu, who discovers a new formula for life, and creates a fluid metal nano life form. When she dies, she entrusts that formula to Chen Yizhe, a businessman with a pure heart, along with the message “real life cannot be bred in pens. In the Solar System, there happens to be a suitable place for it to breed freely – Mercury”. Chen Yizhe accepts this monumental legacy enthusiastically, using his personal wealth to maintain the laboratory. In order take the next step, of “seeding Mercury”, he must turn to the society around him. Mr Hong, a multi-billionaire with a disagreeable personality but a benevolent soul, decides to liquidate his empire to facilitate the spaceship’s construction. Furthermore, Hong makes another astonishing decision: to relocate to Mercury, have his body frozen in the millennia-old ice caves of the planet’s north pole, to be awakened every 10 million years, to assist the evolution of these micro-lifeforms. In just 15 years, Chen Yizhe sends Hong to Mercury to seed the nano-life into the liquid metal lakes of Mercury, after which Hong settles down in its polar caves. Meanwhile, Hong’s lawyer, and soulmate named Yin, bids her painful farewells from the distant Earth.

The second storyline is set 100 million years later, when the Suola race have evolved on Mercury, their metal bodies adapted to the hundred-degree temperatures of the planet. They are sustained by light (drawing energy directly by photosynthesis). With no sense of hearing, they rely on the flashing of light through two orifices in their abdomen to communicate in binary. The entire Suola race are devout followers of Shawu, venerate the Star Father, the great god Shawu and her earthly incarnation. They have been initiated in science, and after studying their Holy Book, scientist Tu Lala discovers that much scientific knowledge has been disguised and hidden within. From this he deduces that life on Mercury originates from The Blue Planet. He implores the high priest to send an expedition to search for the Holy Site in the depths of the ice, with the excuse of reviving the incarnation of Shawu, as the Book prophesied. The high priest consents, sending a chaplain to supervise the mission. Tu Lala actually locates the Holy Site, and discovers the incarnation of Shawu (Mr Hong), frozen in the ice, along the sacred rites of “how to revive the incarnation of Shawu”.

However, unexpected occurrences, mainly due to the ignorance and blind devotion of the believers, result in Tulala’s unfortunate violent death (as metallic organisms, the Suola can easily resurrect after a sudden death, but those who do are considered an untouchable caste). In order to protect Mr Hong’s body, Tu lala risks the humiliation, but tragically, his student Qi Qiaqia denounces him, exposing his untouchable status, and inciting the crowd to him, During which time, Mr Hong’s body is destroyed in the scorching sunlight. To avoid blame, Qi Qiaqia suddenly declares that the incarnation of Shawu was a false god, which is why the Father Star could destroy it. This narrative is accepted by the devotees, who hail him as their new high priest. In the thousands of years that follow, Suola society descends into darkness, religious cruelly suppressing science, but from among the population comes a new “Sect of Repentance”, apparently founded by an untouchable. Silently they preserve everything related to science, awaiting the next rebirth of Shawu in future millennia.

The Songs of Space Engineers including Wang Jinkang’s Seeds Of Mercury and Challenge Of Medusa by Eight Light Minutes Culture, New Star Press.

Q3Seeds of Mercury was first published in 2002, and its appeal still endures, even after all this time. What inspired you to write this story?

Wang Jinkang: The initial inspiration probably came from a sad epiphany I had as a teenager. The human body is too fragile. Our proteins start to coagulate above 80°C, our brain suffers irreversible damage if we don’t breathe for five minutes, our body can’t withstand radiation, and we can die from disease, hunger, dehydration, drowning and freezing… It’s admirable that such a fragile life form has been propagated on for billions of years, but it also makes me apprehensive that humanity would not survive a disaster. Human civilisation is a great achievement, which is why we are proud of it; but it also makes me anxious, worrying that humanity may not survive the next cataclysm. I couldn’t help but imagine, what if a creator, or god of evolution, created a metallic life, invulnerable to fire and flood? Many years later, I combined these youthful imaginings with my subsequent concept of “Templates for Life” and turned it into this novella.

Q4Seeds of Mercury is a piece about the sublime act of Creation, and a reflection on the transitory nature of life. Did you write it with the intention of exploring the contradiction between Science and Religion? Or did that grow naturally out of the creative process? Also, do the sentient beings you write about reflect your own views and positions?

Wang Jinkang: I didn’t intend to construct that dichotomy between Science and Religion, but it’s exactly what happened on Earth, so when I created a history for Mercury’s civilisation, those episodes just appeared naturally. Religion and Science are enemies who love each other. European Papacy cruelly persecuted Galileo, Bruno, and other ‘heretics’, and strictly forbade the theory of evolution, but medieval Europe became the birthplace of modern science. When we look back at the history of Civilisation over millennia, you can’t help but sigh that history is full of paradoxes, and that The Creator is always full of mischief, making fun of the theories of Cause and Effect. As to whether this new life carries some of my own views or positions? Of course. Tu Lala is the heir to the human spirit, with his scientific rationality, adventurous spirit, sense of responsibility, fortitude, and self-sacrifice. In the story, when Tu Lala meets the holy body of Shawu Incarnate, and he figures out that the great god was a scientist. Thus, demonstrating that the intellectual spirits of all scientists are inter-relatable, even if they are alien. That is what I believe in my heart.

Today’s AI isn’t quite up to the standard of “Return of Adam”

Q5Mr. Wang, the world has moved on 22 years since the first publication of Seeds of Mercury. What changes do you think have occurred in science fiction writing in the present day, compared to the early years both in terms of the environment, and the core themes?

Wang Jinkang: These 22 years have brought great changes, and it could be said that civilisation has reached a critical point, that we’re on the cusp of drastic changes. However, for the science fiction writer, who is used to seeing the world from a god-like point of view (through the eyes of science) we think in millennia, so 22 years is too short a period to affect the themes of my work. For example, my debut story Return of Adam showed a society where AI had overcome natural humanity, though it had taken on a parasitic approach, augmenting the processing power (IQ) of the human mind to far outstrip the basic brain, and in fact, became the core of human consciousness. The rapid development of AI today, especially the LLM systems, is amazing, even frightening, but in general, today’s AI isn’t quite up to the standards of Return of Adam. Still, I’m saddened that some things I wrote about, which I assumed would be far in the future have come to pass in my lifetime. For example, in 1997, when many Chinese people asserted that AI could never triumph in the field of Weiqi (Go), I was convinced it eventually would, and wrote a scene of an ‘AI beating a human chess master’ in one of my stories, before it actually happened. I just never expected to see it in my lifetime.

The Return of Adam, published in Science Fiction World, No. 5, 1993

Q6Before Liu Cixin appeared, you “held up half the sky” in Chinese Sci-fi. When you first appeared in China’s science fiction circles, you were relatively older, and more experienced. Do you think that maturity allowed your work to appear more rounded?

Wang Jinkang: My life and experiences have been quite unique. I’ve lived through a very special time in China’s history, worked as a rusticated youth, a miner and model maker. I went to university at 30, became a mechanical engineer, wrote literary novels, and only broke into the science fiction world by chance at 45, publishing my first sci-fi story. If anything, my near-fanatical reading of literature at university paved the way for my future writing. At that time, the reforms were already happening in China, and it was opening up to the world. A huge amount of foreign literature was pouring into the country, dazzling readers like me. There may be another special factor, which is, because I was studying engineering, I was standing atop this wall of science and watching this river of literature racing by, I had a sense of detachment. Add to that I only started writing SF decades after experiencing the rise, fall and distilling of the wave of literature. I suppose that’s why my writing style has a poised, bleak, and sombre character.

Q7What sort of stories do you think are expected from the current literary ecosystem? Which sci-fi genres do you expect to take off in the future?

Wang Jinkang: I have always felt that science fiction is unlike any other form of literature. The richness of mainstream literature does not necessarily coincide with the strength of a country. As the aphorisms go, “classics are born from chaos”, and “poets are fortunate when the country is not”. However, the success of science fiction is reliant on enough readers and authors being educated to a certain threshold, and so depends on the country’s economic, scientific, and technological development, which can be proven by the movement of science fiction’s centre from Britain and France to the United States over the last century. Over the past 40 years, China’s overall economic development has been good, and as one of the oldest sci-fi writers in the country, I’ve experienced this first-hand. I feel that as China continues to modernise and converge with the rest of the world, the creative environment of Chinese sci-fi will continue to improve. As for which themes, I feel will start to emerge? It’s expected that artificial intelligence and space themes, with more emphasis on exploring the human condition, are going to be the stories of importance, but other themes will also develop immensely.

Science fiction writers are used to seeing the world from a god-like viewpoint.

Q8 Mr. Wang, science fiction has taken root in China now for around a century, and you have played a pivotal role in the history of science fiction in the country. Irrespective of whether or not you win this Hugo Award, you have influenced a generation of sci-fi fans and creators. How do you view your own Creative Achievements?

Wang Jinkang: I’m flattered, but I only really played a leading and inductive role in the early stages of the so-called “New Generation” of Chinese sci-fi back in the 1990s. I’m content with the two aspects of my writing career, firstly, in forming the genre of Philosophical Science Fiction, which is based on the latest technological advances, and digs deep into the influence it has on alienation, civilisation, and so forth, to discover this genre’s philosophical uniqueness. This genre did not originate in my work, foreign writers including Mr. Arthur C. Clarke have long created excellent works of philosophical sci-fi, but these elements in my work are more concentrated. Furthermore, with regards science fiction as “the most cosmopolitan form of literature”, I consider my work, whilst still cosmopolitan, to be imbued heavily with Chinese styles and themes, which adds a certain flavour to the genre.

Q9Do you feel that science fiction writing is shifting from short-form to long form, and what difficulties do you feel are associated with that?

Wang Jinkang: In my experience there are three main issues faced when moving into the long-form. Firstly, there must be enough knowledge, from the accumulation of experience and information. Secondly, there must be a more mature view of Nature and human society, in their entirety. These are not necessarily the dominant trait of the novel but will play important roles in the story’s development. Thirdly, the ability to comprehend the entirety of the larger story. This ability to grasp the complete story is equally important to mainstream literary writers, but in science fiction, concepts always play a driving role in the whole work and should be logically consistent in themselves.

Q10In your eyes, what is the role of Morality and Ethics in Science Fiction?

Wang Jinkang: Science fiction authors often look at the world from a godlike point of view, and in the eyes of a creator, survival comes first, and morality and ethics are just auxiliary codes established by humans once they reached a certain level of civilisation. They are also conducive to the overall survival of the human race. As Humanity develops, and “co-operation” becomes more central to society, the role of morality and ethics becomes more and more important, but they certainly won’t stay the same, and the rules will certainly have additions and deletions. For example, once technology becomes suitably advance, the ethics of “strict prohibition regarding editing the genes of a human being” are very likely to change.

Q11Throughout your career, which of your stories are you most satisfied with?

Wang Jinkang: Of my short and medium length works, I like Seeds of Mercury’, Bee Keepers and The Song of Life, and of my longer works, I’m most satisfied with Ant’s Life and the Alive Trilogy (Escape From The Mother Universe, Parents of Heaven And Earth, and Cosmic Crystal Eggs).

Ant’s Life, Fujian People’s Publishing House

Thank you, reader, for giving meaning to my life.

Q12Mr. Wang, some sci-fi fans have pointed out you are ‘the oldest non-American writer shortlisted for the Hugo Award’, which is an impressive feat. What are your hopes for the Hugo Awards?

Wang Jinkang: There’s a bit of a special circumstance here, where a story I wrote 22 years ago, was only translated into English last year, and shortlisted according to the translation’s publication date, even though, I’m very happy to hold this “World Record”. I hope it will go further than just being a finalist, but even if it doesn’t, I still consider it a great honour to be shortlisted.

The English Edition of Seeds of Mercury, Translated by Alex Woodend, in Adventures in Space: New Short stories by Chinese & English Science Fiction Writers (2023)

Q13What would you like to say to the readers regarding the inclusion of Seeds of Mercury in the Hugo Awards shortlist, which was voted for by individual sci-fi fans one after another?

Wang Jinkang: I’ve always had a reverence for my readers. The two most common inscriptions I write to fans at signings are “The reader is the god of authors”, and “Thank you reader, for giving meaning to my life”. Out of the millions of publications each year, in a sea of stories, to have any number of people read your work, enjoy it, and keep it in their memory after that relentless tide of time, is a rare blessing. One might even call it a great gift from the readers to the author.