Illustration: Chen Xia/GT

Chinese mythology in recent years has risen to become a new medium for cultural dialogue. The news that US entertainment company Stars Collective is adapting Journey to the West into a three-part animated trilogy has drawn attention on Chinese social media, making it to the trending chart on China's X-like Sina Weibo on Tuesday. 

Some netizens are eager to see how a US studio will reinterpret one of China's most cherished literary masterpieces, while others worry about potential distortions in cultural representation. The debate reflects a broader trend that Chinese mythology is no longer confined to China's borders. Instead, it has been reaching more and more audiences, becoming an increasingly prominent part of global entertainment and evolving into a new bridge for cultural exchange.  

Stars Collective said it was producing an animated film trilogy based on Journey to the West during the 29th Hong Kong International Film and TV Market. The trilogy is composed of Bajie, Monkey King and Ne Zha, US entertainment business news site Variety reported on Sunday. 

Coined as an "Eastern fusion of The Odyssey and The Lord of the Rings," Journey to the West is one of the four classics of Chinese literature. In the late 19th century, the story traveled to Southeast Asia with migrants from South China's Guangdong Province and East China's Fujian Province. In Teochew opera (a traditional Chinese art form), based on Journey to the West, the Monkey King Sun Wukong is often revered as a protective deity in times of crisis, a belief still seen in Thailand, Malaysia, Cambodia and Vietnam today.

In East Asia, Japan and South Korea have both produced films and animated adaptations of Journey to the West. And in the West, there was the Australia and New Zealand co-produced the series The New Legends of Monkey in 2018, as well as the US TV series Into the Badlands that was also inspired by Journey to the West. 

Meanwhile, American Born Chinese modernizes Journey to the West by blending it with Eastern mythology, using a high school student's journey to explore themes of identity and cultural belonging among second-generation Chinese Americans. Each adaptation, shaped by different cultural and artistic perspectives, reflects the universality and adaptability of the Journey to the West narrative.  

In recent years, Chinese mythology has gained unprecedented international visibility. The massive success of the video game Black Myth: Wukong, which won Best Action Game and the Players' Voice Award at The Game Awards 2024, marks a major milestone for China's gaming industry. Drawing inspirations from historic landmarks and traditional Chinese music, the game's global success has sparked greater international interest in Chinese mythology and heritage.

Similarly, the Chinese animated film Ne Zha 2 has become a global box-office hit, surpassing Star Wars: The Force Awakens to rank among the top five highest-grossing films worldwide, with total earnings of 15.2 billion yuan ($2.07 billion). On February 17, it overtook The Lion King, making history as the first Asian film to enter the global top 10. Additionally, its overseas revenue reached 76.86 million yuan, setting a new record for Chinese-language films in nearly two decades.

The global revival of Chinese mythology shows that these stories are no longer just part of history. They are now living cultural treasures, playing an active role in global entertainment.

According to Variety, the trilogy by Stars Collective, currently in script development, plans to use AI-generated animation and motion capture to create a hyper-realistic mythological world. Beyond traditional film formats, the company is collaborating with technology firms to build an XR (Extended Reality) immersive experience. Viewers will not just watch Sun Wukong's "Havoc in Heaven" or Nezha's fiery battles - they will physically experience them through motion-sensing technology.  

While past generations engaged with Journey to the West through books, operas, and television dramas, today's audiences can seek more interactive and visually compelling experiences. By leveraging AI, VR and motion capture, studios are transforming ancient myths into interactive worlds where audiences can not only observe but participate in legendary adventures.  

"Such technological advancements could play a crucial role in making Chinese mythology more accessible to international audiences," Shi Wenxue, a Beijing-based film critic, told the Global Times. 

For many Western viewers who are unfamiliar with the cultural nuances of Chinese mythology such as Journey to the West or Ne Zha, such technology could offer them a great viewing experience and pique their interest to further explore the cultural meaning beyond a film, Shi pointed out. 

Despite the enthusiasm surrounding this adaptation, concerns remain among many Chinese netizens about how faithfully the trilogy will retain the classic's cultural essence. Some netizens have expressed apprehension about Hollywood-style alterations, fearing that political correctness or commercial interests might overshadow the original themes and character dynamics. As one of the top rated online comments on Sina Weibo put it, "Will we see a race-swapped Xuanzang or a non-binary Zhu Bajie [two main characters of the novel Journey to the West] in the name of inclusivity?"  

"If the production team makes such drastic changes to Chinese mythology, it probably means they have decided to give up the Chinese market. However, I believe the global audience already has their own understanding of the story. Adaptations naturally involve creative reinterpretation and modernization," Shi said.  

The author is a reporter with the Global Times. life@globaltimes.com.cn