相亲才会赢
When a Chinese mythic world travels without translation_我的网站
一 | 受访Grab和Gojek平台的私召车司机表示，在过去六个月，他们感觉到收入减少了。
There was no narration explaining the mythology behind palaces rising above an ocean of clouds in the video, nor subtitles identifying the heavenly gates, cranes or tiny figures moving beneath them.
Yet viewers outside China quickly began naming the world for themselves.
Some called it "paradise." Others saw a "Celestial Palace" or an "Immortal Realm" familiar from Chinese fantasy games and television dramas. One user wrote, "Waiting on Wukong to show up," invoking the Monkey King from the Chinese literary classic "Journey to the West," or the hit game "Black Myth: Wukong."
The interpretations differed, but viewers did not seem to need the same cultural knowledge to enter the conversation.
Earlier this month, Chinese foreign ministry spokesperson Mao Ning shared the 33-second AI-generated video on social media with a question: "What does the Chinese heaven look like?"
It opened up a hermeneutic discussion, with responses overseas suggesting a cultural image does not necessarily need to elicit exactly the same interpretation for everyone in order for it to be viewed meaningfully.
"The right to interpret ultimately lies with the audience," said Zhang Zheng, deputy dean of Tsinghua University's School of Journalism and Communication.
People encountering unfamiliar cultures inevitably draw on what they already know, Zhang said. Rather than fully grasping every cultural reference, what matters is whether audiences can encounter the work, understand it and respond to it emotionally.
Before strangers abroad could interpret this particular world, however, it first had to get out of one man's head.
Chen Aijun, 34, is an optometrist in Chengdu, capital of southwest China's Sichuan Province.
By day, Chen leads a quiet, down-to-earth life in a neighborhood optical shop. Inside, he worked among eyeglass frames and optometry equipment. On his computer was another landscape entirely: cloud seas, immense palaces, flying cranes and figures in ancient robes.
Chen's heaven did not come from any single ancient text.
Growing up in the 1990s, he watched "Journey to the West" and later encountered "The Investiture of the Gods," xianxia (immortal heroes) novels and fantasy games. Those stories mixed over time with images of Chinese architecture and landscapes he saw online.
He has never visited nearby Mount Emei, and most of what he knows of Mount Huangshan's famous sea of clouds comes from videos.
What appeared on his screen was therefore not a reconstruction of one fixed mythological scene, but a world shaped by traditional stories already filtered through television, novels, games, the internet and his own memory.
For years, Chen had no way to make that world visible.
He never studied painting, design, photography or 3D modeling. After high school, he joined his parents' optical business and eventually took over the shop.
Generative AI changed the gap between imagining an image and possessing the technical skills to show it to someone else.
More than a year ago, Chen began teaching himself through free online tutorials. In September 2025, he started regularly posting AI videos, and a month later began experimenting with palaces floating above clouds. He has since published more than 200 videos.
The process, however, involves far more than entering a few prompts. The technology lowered the technical threshold, but it did not make the choices for him.
When creating Nantianmen, the mythical heavenly gate, Chen first defines the spatial rhythm and tonal hierarchy, pairing towering architecture and cloud seas with deliberately miniature figures to amplify the celestial realm's grand scale.
If the result does not match the picture in his mind, he tries again. He often generates over 1,000 images a day, revising a single scene repeatedly before moving on to animation, editing, color grading and music.
The machine can generate a thousand possible heavens. Chen still has to decide which one is his.
"AI-produced images can be soulless, and it takes human inspiration and aesthetic sensibility to endow works with warmth and vitality," he said.
Zhang believes Chen's experience reflects a broader shift brought about by generative AI. He said AI is giving people without conventional artistic training access to forms of expression that once required specialized skills. But what they create still depends on what they bring to the tool.
"A person's existing knowledge inevitably shapes how they use AI," Zhang said.
Chen brought his memories to the machine. Viewers abroad, in turn, brought theirs to the image.
"Everyone brings their own associations to these scenes," he said.
If his imagined world had to be reduced to three elements, he would keep clouds, architecture and people. The first two should feel immense, he said, while the last should remain small.
The details are culturally specific, but the visual effect is more immediate: tiny human figures dwarfed by vast clouds and monumental architecture. The responses suggest that viewers did not need to understand every cultural reference to find a way into the image.
Chen has no overseas social media accounts and learned that the video was attracting attention abroad only when friends sent him screenshots.
His life at the optical shop has changed little. He still checks eyesight and fits glasses when customers come in, then returns to his computer when the shop grows quiet.
He now hopes to make longer AI videos with fuller stories. He also wants to visit Mount Emei and, one day, Mount Huangshan.
For years, images of distant mountains and clouds reached Chen through screens. His imagined landscapes later traveled through screens to people he had never met.
Now he wants to see the real mountains and clouds for himself.
。对此，Grab表示，这种情况是季节性的。新传媒英文新闻网站CNA 采访了八名私召车司机，根据报道，Grab或Gojek的私召车司机都认为车费下降，导致收入减少。另外有三名只使用TADA平台的私召车司机则表示，他们未见收入下降。TADA采用的营运模式是零佣金模式。
二 | 56岁的Grab司机Lee Chin Chye说，他过去每天工作十小时能赚取300元至500元，但从六个月前开始，收入开始减少，即便工作时间不变，他的收入减少约10%。
三 | 李先生将原因指向Grab，认为是因为平台的车费降低导致收入减少。他说：“平台与平台之间的竞争，以及乘客需求下降，对收入有很大的影响。”车费是否被降低？Grab和Gojek受询时未就此作出回应。根据数据平台Measurable AI的数据，在本地五个私召车平台中，Grab在2022年占据新加坡私召车平台市场的50.2%，居于主导地位。
四 | 其次是Gojek，占17.7%；ComfortDelGro占15.1%；TADA占11.1%；Ryde则占5.9%。收入减少 私召车司机感担忧 收入下降的问题令许多私召车司机，尤其是年轻或有财务负担的私召车司机们感到担忧。一名匿名的31岁Gojek私召车司机表示，他的收入减少了10%，但目前他没有打算放弃当私召车司机。
五 | 他因工伤失去了之前的工作，过去五年一直靠当私召车司机，养活五个孩子。另一名56岁Grab司机李先生则面临更大压力。过去六个月里，他的收入下降约20%。
六 | 他表示，过去每天工作十小时可赚取约300新元，如今则仅有约250新元。他感叹道：“我要减少出行和在餐馆用餐的次数。物价在上涨，但我的收入似乎在下降。有时一个月一次，我不得不借个人贷款来维持生活开支。
七 | ”他说，生活成本的上升，尤其是油价的上涨，让情况变得更加糟糕，这对司机而言简直是双重打击。Grab：收入下降 受供需平衡影响 Grab发言人表示，私召车司机收入的下降主要受供需平衡影响，并会因季节和活动的变化而波动。在需求高峰期，例如节日或重大活动期间，整个行业的车费和收入通常会上升。
八 | 发言人指出，今年1月和2月期间，由于新年和农历新年的节日效应，以及第一季度的多场大型演唱会带动了高需求和高车费。例如，在今年3月，美国流行女歌手泰勒丝（Taylor Swift）的“时代巡回演唱会”（Eras Tour）吸引了超过36万8000名观众，其中许多是游客。Grab表示，需求通常会在6月公立学校假期和7月至8月国际学校假期期间下降，因为更多人选择在此期间离开新加坡出国旅行。
九 | 这是一年一度的常规现象。发言人也表示，未来几个月，司机可能会看到更多的乘客需求。“随着学校假期结束，我们已经看到需求回升，并预计在下半年在更多大型活动（如F1比赛）举行前，需求将进一步增加。”平台之间的竞争是否导致车费下降？ 私召车司机的收入下降并不是因为司机人数增加。陆路交通管理局的数据显示，从1月到6月，私召车司机的职业执照数量从5万4054个略微下降到5万3536个。
十 | 司机们更关心的是私召车平台公司之间的竞争。一名67岁的Grab私召车司机表示：“我相信这些科技公司试图相互竞争，但在这样做的过程中，他们把自己的利益置于司机的利益之上。”另一位同时通过TADA和Grab平台提供服务的72岁司机陈先生表示，随着竞争的加剧，车费降低是自然而然的事情。他说：“你不能期望收取高额车费，否则谁愿意乘坐？大家都有TADA、Ryde、Grab，他们可以搜索最低价格。
十一 | ”通过TADA平台提供服务的私召车司机表示，他们的收入并未变化。他们表示，尽管平台较小，接到的订单也较少，但由他们采用这个平台是因为于无需支付TADA佣金。然而，一名55岁的兼职司机吴先生认为，零佣金模式可能不会长期存在。他说：“我现在享受这种模式，但我不认为这个模式会一直这样下去，除非TADA找到其他盈利途径。
十二 | ”他还补充说，私召车公司通常会提供奖励以吸引私召车司司机加入，但这些奖励会随着私召车司司机经验的增加而减少。
十三 |
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Published on:11:32:45