Abstract: This article studies Chinese science fiction's “global” impact as a new wave, and examines three implications of the term “worlding”, as world-building in science fiction, as the genre's becoming world literature, and as its representation of the invisible China as a hidden part of the world. The article refers to David Damrosch's concept of “world literature” as well as Istvan Csicsery-Ronay, Jr's argument about “global science fiction”, and polemicize these notions in the context of Chinese science fiction. The article mainly focuses on the works by Liu Cixin, with discussions extended to Han Song, Chen Qiufan, and other writers. The article also asks what remains invisible after Chinese science fiction has taken the center stage, while looking deeper into the genre's ethical commitment and cultural subversions.

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