20-Year-Old Man on Road to Stardom in Japan’s Pro Mahjong League

If you ask Chinese people to picture a mahjong scene in their minds, many would probably imagine a group of shirtless, middle-aged men sitting around a mahjong table in a dim, smoky room full of commotion.


Some might be taken aback to discover that in Japan, professional mahjong players often suit up and smartly present themselves at mahjong competitions, which are broadcast to millions of viewers.


Mahjong set in Shanghai

Elderly people play mahjong underneath an elevated highway in Shanghai. Photo via Depositphotos


For those who aren’t familiar with mahjong, know that it is a board game involving three to four players who take turns drawing and discarding tiles from the table. The goal is to form specific sets of tiles (comparable to poker) to score points.


During occasions that call for family gatherings (Chinese New Year, for example), Chinese relatives often set up a mahjong table and hunker down for all-day matches. Some might place a wager or xiao caitou (小彩头) — a small amount of money to keep things more interesting — on the game.


Although betting isn’t a must during mahjong, many people associate the game with gambling.


In an attempt to standardize and universalize the game, China Mahjong Competition Rules (MCR) were introduced in 1998. But still, mahjong as a professional activity remained relatively niche in China until recently.


This is far from the case in Japan, a country that invented its own mahjong rules. Based on Chinese mahjong, riichi mahjong is so successful that it has been a professional ‘sport’ for decades in Japan, and matches regularly attract millions of viewers.


In Japan, pursuing the path of a professional mahjong player is nothing novel, and the vast majority of elite players are unsurprisingly Japanese.


Lin Yuan is an exception: The 20-year-old is the first young Chinese riichi mahjong player in Japan.


Lin Yuan mahjong

Professional mahjong player Lin Yuan during a video interview. Image via bilibili

Give Mahjong a Chance!

Lin’s enthusiasm for mahjong stems from high school. As a fan of anime, he was a member of various ACG (Animation, Comics, and Games) fan clubs.


“Somehow, the groups were full of links to Maj-Soul, a riichi mahjong e-game created by a Chinese gaming studio. In February 2019, out of curiosity, I signed in and played. Then I just couldn’t stop,” confides Lin in RADII.


Lin Yuan JMPL

Lin Yuan (wearing a white shirt) playing a professional game of mahjong. Photo courtesy of Lin


Prior to that, Lin hadn’t tried mahjong because he “used to think it’s a game that merely older generations would like.” According to him, Chinese youth are invited to play mahjong with their families nowadays, but not everyone is interested.


“What playing mahjong meant to me was nonstop gossip and the smell of cigarettes. And that it was boring compared to other games,” recalls Lin.


But after giving it a whirl, his opinion changed: “It’s so fun and intellectually intensive. You need to judge a situation and predict your opponent’s actions while trying to reach tile patterns efficiently in order to score as soon as possible.”


Mahjong technique, according to Lin, is no less complex than the tactics need to succeed in chess or Go.


“I think it is completely underrated, perhaps because many local mahjong rules in China sacrifice sophistication for gambling, making it a relatively boring sport. And therefore, it might not appeal to many people,” opines Lin.

Harder Than it Looks

The history of Japan’s version of mahjong has cast a spell on Lin.


“I began to follow riichi mahjong tournaments closely and gradually warmed to the idea of becoming a professional player,” he says. While studying at Tokyo Institute of Technology, he passed the qualification exam for Japan Professional Mahjong League (JPML).


But the test, which begins with a three-page-long written examination, is more difficult than you might assume. An example of a writing prompt would be how to determine one’s chances of winning in a provided situation. Furthermore, examinees can only proceed to the next part — a practical assessment — if they score high grades.


After facing a line of questioning, examinees must play two matches in a dojo (a room or hall where matches unfold). Their every move, including their mannerisms and ways of holding their tiles, is observed by JPML officials.


JMPL test

An example of a JPML test question


“It’s tough for normal players since there are way more restrictions in professional games, and you have to follow that pattern,” explains Lin.


At first, the youth’s parents were strongly opposed to his goal of professionally becoming involved in an activity often associated with small-time, backroom gambling. To demonstrate the legitimacy of his chosen career path, he sat them down to watch some M-League games — Japan’s biggest mahjong competition — and explained the game’s mechanics and complicated rules. His tactic worked, and they began to embrace it.


Since then, Lin has participated in many tournaments himself. The experience can be both physically and intellectually demanding.


“Honestly, playing a tournament is very different from how I normally play mahjong on my phone. Our matches are usually done in a single day, from 11 AM to 4 PM, with no break in the middle or time to have lunch,” he shares. “Under the high intensity of brain activity and pressure, you will soon be exhausted. Every time I finish the game, I go home and fall asleep for a few hours.”


In addition to skills, luck plays a big part in winning mahjong, emphasizes Lin. He recalls a match where he badly needed a particular tile, but it never showed up.


“I did the best I could, but sometimes, luck — that’s the thing,” he shrugs.

Competitive Mahjong Comes Home

As the only active professional Chinese player in riichi mahjong, Lin — at least in his examiner Setokuma Naoki’s eyes — plays an extremely important role in promoting competitive mahjong in China.


“He was very surprised to learn that I am Chinese, but very happy at the same time,” reveals Lin. He hopes I can be the bridge between Chinese and Japanese competitive mahjong fields in the future.”


The young mahjong enthusiast, who was interviewed by riichi mahjong content creator Fengming Mahjong Group on the Chinese streaming platform Bilibili earlier this year, is highly optimistic about the development of competitive mahjong in China.


“The growth of competitive mahjong in China has been very rapid over the past few years,” says Lin. A long time ago, you could only find a few videos when you searched for keywords on Bilibili. Now, an M-League match can easily reach tens of thousands of views, which is already a big improvement. What’s even more gratifying is that China now has an unofficial tournament based on MCR, which is also catching a good amount of attention.”

Lin has observed that — despite some folks’ preconceptions about mahjong —the game is now being well-received by young people in China. Even his ex-classmates from high school are supportive and understanding of his career choice.


Maybe in the future, a new competitive mahjong ecosystem will form in China,” says the Chinese youth with hope.


Cover image designed by Haedi Yue

All Eyes on Song Yadong in Clash With ‘The Sandman’ at UFC Vegas 60

Chill the beers, MMA Fans, as Chinese bantamweight Song Yadong will take to the Octagon on September 17 to trade blows with Cory ‘The Sandman’ Sandhagen at UFC Vegas 60.

Song is the 10th-ranked bantamweight fighter in the UFC. He currently holds a 19-6-1 record and is riding a three-bout win streak following a knockout against Brazilian fighter Marlon Moraes in March.


It’s an impressive record for the 24-year-old Heilongjiang native, but the ‘Kung Fu Monkey’ will have a tough fight ahead of him against Sandhagen. The Colorado-born fighter is ranked fourth in the bantamweight division and currently holds a comparable 14-4-0 record after two consecutive losses in July and October 2021.


According to Vegas Insider, odds for the fight show Song as the +170 underdog, with Sandhagen listed as the -200 favorite to win.


Nonetheless, some also anticipate a positive outcome for Song, who is six years younger than his higher-ranked opponent.


“Sandhagen is a betting favorite in this one. However, Yadong has certainly looked more impressive recently, finishing two of his last three opponents,” opined Sportskeeda, predicting a Song victory.

One could argue that Chinese MMA fans have high hopes for Song, particularly after the unfortunate events that occurred with Chinese MMA fighter Li Jingliang at the controversy-plagued UFC 279 in Paradise, Nevada, on September 10.


The Xinjiang-born welterweight showed up for the pre-fight press conference in an eye-turning custom suit, only to miss his moment with the press due to a melee breaking out among other fighters.


At the very last minute, Li was pulled from his scheduled fight against Tony Ferguson and matched up against Daniel Rodriguez — an American fighter nearly 10 pounds heavier than himself.


Li Jingliang after victory over David Zawada at UFC Fight Night 141 in Beijing in 2018

Li Jingliang after victory over David Zawada at UFC Fight Night 141 in Beijing in 2018


Nonetheless, as we’ve come to expect, ‘The Leech’ gave it his all. The pair made it through all three rounds before Li suffered a split-decision loss.


Following the fight and believing Li to be the rightful victor, MMA fans worldwide took to the internet to express their frustration with the decision. Even UFC President Dana White slammed the judges’ call, saying he “thought Li won the fight.”


But despite all the chaos, Li remained humble and took the defeat in stride, expressing little frustration with a situation entirely out of his control.

In a heartfelt Instagram post (see above) after the event, Li expressed his gratitude to his fans: “Huge thanks to everyone who supports me. I felt a lot of love from you this week. You guys are who I am fighting for. I fight for my people, my family and my dream.”


In an appearance on The MMA Hour two days later, he expressed frustration with the whole situation, according to MMA Fighting.


“I made weight. Tony made weight. Why don’t [they] let us fight? It’s not our fault. So why? Tony fought Nate as the main event — why don’t they let me fight Nate? It’s unfair. I cannot accept that,” said Li, while rocking a shirt with a single word written across: ‘Robbed.’


Ironically, Rodriguez now appears in the 14th ranking position on the UFC welterweight list that Li once held, and Li no longer appears on the rankings. But we’re inclined to believe there is still tons of potential for the 34-year-old to ascend.

After the insanity of last Saturday’s Nevada throwdown, we’re excited to see the first Song matchup in over six months this week. Of course, we’ll be delighted if he can avenge the injustice of his fellow Chinese fighter and come home with his fourth win in a row.


Here’s hoping that, at the very least, Song gets to fight the match he signed up for.


Hungry to discover more human stories from China’s MMA scene? Then take a look at our Way of the Warrior series.


Cover image courtesy of ‘Way of the Warrior

Female Androgyny From 1930s Lies at Forefront of Seventyfive’s Fashion

Brandstorm is a series in which we feature the most notable fashion, beauty, and retail brands in China. From edgy jewelry designers to coveted influencers, these are some of the industry’s most talked-about names.


Founded by Janny Jingyi Ye, clothing brand Seventyfive draws inspiration from historical Chinese fashion, especially styles from the 1930s, while also upholding sustainability.


Born in Guangzhou and raised in China and Vancouver, the designer expresses her thoughts in a carefree mix of English, Cantonese, and Mandarin, and her sensibilities through fashion, a medium she deems more versatile and universal than language.


Boasting a prestigious academic background (London’s Central Saint Martin and Royal College of Arts), Ye has formed high-profile partnerships with the likes of London Fashion Week and bi-monthly British online magazine Dazed.


While some collections feel like fashion for fashion’s sake, Ye’s work is grounded in innovative research methods and powerfully connects garment production with East Asian history and social issues.


We spoke to Ye to learn more about the brand, which is breaking temporal, cultural, and gender boundaries:


RADII: How was Seventyfive born?

JJY: Seventyfive started at the beginning of the pandemic, […] not a good time to start a brand focused on the materiality and tactility of clothes. That being said, during the pandemic, everything slowed down, and I had a lot of time to refine ideas, learn new skills, explore archives, and think about fashion in ways that I wouldn’t have been able to otherwise.


With Seventyfive, I’ve included a range of new experiences and research methods, and throughout this process, I’ve really grown as a designer.


Seventyfive chinese fashion


What inspired your new collection Cardinal?

JJY: Cardinal is a continuation of our previous collection, Pomelo, an exploration of the 1930s Chinese women’s magazine Linglong. In Pomelo, we explored the wider spectrum of visuals and ideas shared in the magazine and focused on the reader contributions, which often included photos of themselves.


Linglong was actually very subversive. Lots of women were rejecting marriage [and] relationships and wanted to be single or in life-long companionship with friends.


Cardinal expanded on this premise, focusing on one specific aspect of Linglong: Women practicing androgyny who were regularly discussed and visualized in the magazine. So, the core drive behind Cardinal is Chinese female androgyny in the 1930s.


1930s china magazine vintage

Cover of the first issue of Linglong magazine. Image via Twitter


Why is the collection called Cardinal?

JJY: For this collection, I wanted something that was not too cliche, not too in-your-face, and I remembered that there are certain organisms [who are] born with male and female characteristics, leading to their body being visibly split (gynandromorphy). This happens with butterflies, but also with certain birds, such as cardinals.


I found the cardinal a really striking example, as the body [of mixed sex cardinals] is half beige and half red. I used the name ‘Cardinal’ to reflect on how gender and biological status can be so fluid. That it is not a male-female binary, but rather a spectrum.


Why are you interested in Chinese female androgyny?

JJY: Although the idea of androgyny is not unfamiliar to Chinese audiences — think of things like The Ballad of Mulan and Butterfly Lovers — of Linglong, the topic has been discussed in a more contemporary setting, not as an element of a grand narrative. [Chinese female androgyny] was everyday, mundane, and real.


I started to do more research into the broader spectrum of women practicing androgyny in the 1930s. I followed traces in Linglong to find women around the world who practiced androgyny when it was still a dangerous thing to do. For instance, it was still technically illegal for women to wear trousers in certain countries in the 1930s.


chinese fashion


Why is non-European fashion history important to you?

JJY: The vision and perspective of global fashion have always been very Eurocentric. There are many resources to examine fashion from a European point of view, but I feel there is a lack of non-European aesthetics and references; [many] designers and brands are not earnestly engaging with non-European fashion history.


I think many designers with non-European backgrounds and heritage are now trying to engage with reference points, materials, and garment traditions from outside of Europe.


For me, that means a more Asian aesthetic and garment philosophy, meaning the looks, the materials, and how garments can be constructed to last longer — sustainability through sturdiness.


This does not mean Europe will disappear; other brands will continue to reference Europe, and even Linglong discusses European fashion. European fashion is inescapable, but by introducing examples from elsewhere in the world, I hope that the fashion industry can become more inclusive and more diverse.


Seventyfive


How do you think fashion relates to social topics such as gender issues?

JJY: I think fashion has been a safe space for a variety of communities to express themselves for some time. This was visible in the 1930s, through our source material, Linglong, with women wearing androgynous looks and complaining about life in a patriarchal society where they were expected just to get married and have children.


Fashion, for those women, was not just an escape, it was them being true to themselves. I am not an expert on gender and sexuality, but the fashion and aesthetic codes we live by have been taught to us from a young age.


Many people may ignore fashion and aesthetics, considering them trivial or frivolous. But clothes are one of the first things you notice about people, how you evaluate and understand them, and they are some of the easiest codes to break, to play with.


Seventyfive chinese fashion


Why did you choose to launch your collections as multimedia projects, including videos and zines?

JJY: While Cardinal is a collection considering gender and androgyny, it is also about China, Chineseness, the Chinese diaspora, and being East Asian.


I hope that through fashion and multimedia projects, I can continue to give a voice to East Asian people, people from the modern-day and the past.


Part of what Seventyfive is doing is showing that East Asian designers and consumers are more than just numbers and that we are people with histories, traditions, and tastes that matter.


Editor’s note: This interview has been edited for brevity and clarity.


All images courtesy of Seventyfive unless otherwise stated

Baidu’s New AI Program Creates Stunning Art, But Concerns Abound

The first successful application of artificial intelligence (AI) technology took place 71 years ago — a checkers program developed by Arthur Samuel that ran on an IBM 701 computer at the University of Manchester back in 1951.


In the following decades, AI has permeated nearly every facet of our lives, from smart home devices to healthcare, autonomous driving, and more.


With technology constantly evolving and improving, people have always wondered whether AI could take on some of humanity’s creative qualities. Could AI help us remove the barriers of artistic craft and specialization and easily express what we envision in our minds? The exponential development of this technology has already shown us the answer — a resounding yes.


With the product ERNIE-ViLG 2.0 introduced by Baidu Wenxin earlier this month, you can now create an image by simply typing some prompts into a textbox.


Take, for example, the image below. The psychedelic da Vinci derivative, used as an example in the official ViLG brief, is the product of inputting the terms Mona Lisa,’ ‘Cyberpunk,’ ‘Polaroid,’ ‘33mm,’ and ‘Vaporwave’ as prompts.


ViLG AI Artwork

An out-of-this-world reimagining of the iconic Mona Lisa generated by ERNIE-ViLG 2.0


What’s more innovative — and uniquely Chinese — within this growing industry is that ViLG allows users to input traditional Chinese poems, which result in abstract yet stunningly beautiful and satisfying generations.


At present, ViLG is the biggest Chinese text-to-image AI and owns the best Chinese text parsing capabilities. Creating artwork based on the concept of Chinese poems is no simple feat, but ViLG has proven more than capable.


The ViLG website is now accessible to the public, allowing netizens to type in aesthetic-related prompts and conjure up artificially generated graphics. The possibilities using the platform are seemingly endless, ranging from abstract to realistic, professional-quality artworks.


The popularity of ViLG has taken off quickly, and online tutorials are cropping up on the Chinese internet to help noobs make the most of the technology. On the Chinese lifestyle platform Xiaohongshu, one of ViLG’s developers, going by the online handle @lclbrew, shares tips and skills to help new users input better prompts and more accurately direct the software.


ViLG AI artwork

Artwork created by ERNIE-ViLG 2.0


Despite the hype surrounding ViLG, concerns are also arising in opposition to this exciting new tech.


One essential issue is copyright. The technology behind ViLG is called ‘diffusion,’ which describes the process of ViLG ‘learning’ from as many sample images and paintings as the researchers can find on the internet. These inputs are transformed into ‘knowledge’ and then used to output unique and original renderings.


So far, ViLG supports commercial use, but there’s no guarantee of copyright for creators, meaning if someone’s original artwork is learned by ViLG and incorporated into its creations, the author won’t receive any compensation.


Mimic, a similar product in Japan, was recently criticized for learning a large number of illustrations from the famous website Pixiv without permission. The site was eventually taken down amid criticism from Japanese netizens.


Meanwhile, some digital artists are understandably experiencing a bit of career anxiety, concerned their jobs may disappear amidst the AI revolution. On the Chinese video platform Bilibili, one netizen lamented:


“The power of AI is so terrifying. Almost two years ago, these programs drew like a baby, but now they can draw much better than me. The value of artists will gradually decrease; I’m quite negative about the future.”


These concerns have already proven to be valid. In August, American Jason M. Allen won the Colorado State Fair’s annual art competition painting prize with artwork generated by Midjourney (a similar product to ViLG). The officials admitted his artwork and refused to re-evaluate the award after the fact, sparking outrage among many in the artistic community.


This is not the first time such a discussion has taken place. A few years ago, the AI program AlphaGo beat Ke Jie, the world’s top Go player. The event sparked a heated debate among Go players, who wondered whether human matches were still meaningful when AI could guarantee a 100% win rate.


Ai artwork

Artwork created by ERNIE-ViLG 2.0


Now, digital artists are asking the same question: If AI can create perfect art one day, does human creativity hold the same value? Will it even be needed?


‘Human’ has become a central word in discussions of AI, and finding a balance between this undoubtedly fascinating technology and the dedicated craft of artists worldwide will be a challenge at the forefront of this debate.


Of course, there are no easy answers or solutions when it comes to fostering a positive co-existence between the two. The AI of tomorrow will undoubtedly be different from what exists today, just as the technology is almost unrecognizable from its early years of mastering chess and checkers.


Art is, of course, always subjective, and these two conflicting creative worlds are likely to be a subject of discussion for years to come.


All images generated by ERNIE-ViLG 2.0

Is the NFT Hype Justified? 3 Creatives Weigh in on the Trend

After Beeple’s highly publicized stroke of luck — selling a non-fungible token for 69 million USD — in 2021, NFTs emerged as the holy grail of the fine art world. The revolutionary technology has the potential to free struggling artists from the old-fashioned, elitist, and money-grabbing gallery system while allowing them to make money and vouch for the authenticity of their digital artworks in a decentralized and secure way.


Even in China, where crypto trading is currently banned, the hype was — and still is — real. We’ve seen tech giants mixing art and ecommerce in NFT exhibitions, fashion shows with models strutting virtual fashion items, and the proliferation of minting platforms betting on the potential of digital collectibles.


On a daily basis, my spam box generally houses hundreds of emails announcing new projects and ‘drops,’ with most of them involving some well-known tech gurus, KOLs, or celebrities. Likewise, new start-ups and joint ventures multiply like gremlins and push creative industries to transit to Web3 — think blockchain and the metaverse.


There’s no doubt that, even with crypto at a low point and the falloff of the global NFT market, an unbelievable sum of money is still being poured into NFTs in China and abroad. The gold rush hasn’t stopped.


Today, much chatter about NFTs comes from its investors — CEOs, CMOs, CTOs, CFOs, you name it — and usually revolves around its countless benefits and the incredible disruptive capacity it presents to creative industries, especially the art market. However, content creators, the true creatives behind NFT projects, rarely get a word in about how they’re truthfully benefiting from the zeitgeist.


This is why we skipped the C-suite and the ‘tech bros’ and talked to three different creatives working across art, design, architecture, fashion, and community building. What they tell RADII reveals a more practical picture of the burgeoning movement.

Han Hui, Artist and Architect

“It’s fast and good money,” laughs Shanghai-based artist and architect Han Hui. The creative finds fulfillment in exploring street art and urban subcultures in acrylic on canvas. Still, he realizes that his computer skills, which he inherited from architecture school, are his strongest suit. Such skills are even more important now that he’s focusing on 3D sculptures and computer algorithms.


“It’s essential to keep a sharp mind and balance art and creativity with selling. With NFTs, I can put a price on my digital works. Sales are good, and the market is heated,” remarks the artist, who dropped his first NFT set on Dionysos, a Chinese marketplace backed by the Shanghai city government and the city’s West Bund Group.


The six digital works were presented inside a ‘blind box,’ meaning that customers didn’t know exactly what they would be getting. All 8,000 copies sold out.


Han Hui

Dumpling Bonsai, a 3D sculpture ‘sculpted’ by Han Hui using Cinema 4D. Image courtesy of the artist


“The market is crazy. Everything was gone in one hour,” says Han, who made hundreds of thousands of renminbi in that single drop. However, the artist is frank about the hefty commission fees. Also, the market is not as decentralized as it seems.


“In China, things happen a bit differently,” he explains. “Unlike, say, OpenSea, which sells the works of many different artists at the same time, Chinese platforms tend to sell the work of one artist in a day. You get 24 hours of exclusive sales on the platform.”


Also, direct deals between collectors (or investors) are not allowed in China. Even so, some find a way around it, such as facilitating transactions via platforms like Alipay, or exchanging NFTs using public blockchains.


Han, who believes that NFT art buyers can be anyone, from college students to stay-at-home moms, suspects that China’s unstable economic environment is responsible for the current NFT hype.

“For now, I feel [NFTs are] something purely speculative. Most customers don’t seem to care about the artwork itself. It’s an investment. People buy because they believe the price will go up. They like to gamble.” 

In addition to working on two other NFT projects, he is currently chatting with an Australian marketplace about future possibilities.

However, he and his former classmates have yet to tap into digital architecture — the artist is awaiting more technological advancements first.


“I still can’t say how architects will benefit from NFTs or the metaverse. I can’t see the future, but these are all new ways to show creativity and art. For now, that’s good enough,” concludes the creative.

Sijia Ke and Shijie Hai, Founders of Studio Office

Graduates of The Royal College of Art in London, design duo Sijia Ke and Shijie Hai returned to China to work in their respective areas of expertise — him as a designer for sportswear brands, and her on her art practice.


In 2021, they joined forces to create Studio Office, which specializes in illustration, animation, graphic design, and video, in Shanghai. One of the design studio’s first projects experimented with NFT fashion.


In conjunction with the virtual launch of Shanghai-based menswear brand Staffonly’s fall 2022 collection, Ke and Hai created a total of 20 3D characters dressed in the brand’s designs and uploaded them to an auction website.


The highest bidder received a PNG animated image of the fashion character — and its a non-fungible token.


Neither cash nor crypto was involved. Instead, customers were asked to ‘pay’ for the NFTs by way of social media likes. Hai explains:

“It was a vanity auction. We created a new currency, the ‘likecoin.’ In today’s world, likes are a currency.”

Even though Staffonly made no monetary profit from the sales of the NFTs, the virtual designs significantly boosted the brand’s online exposure.


“It was a great financial deal,” Ke says. “We didn’t invite just anybody to the auction. They were big KOLs and influencers, and they shared the screenshots and images on their channels. The publicity was huge.”


Hai reckons this is the primary way fashion brands can benefit from NFTs, at least right now: using it as part of publicity stunts to market themselves.

Additionally, both note that more consumers are using NFT fashion pieces as status symbols on social media, or wardrobe filters and collectibles. As ridiculous as it might sound to some, there is a growing demand for better looks online.


“It’s no longer enough to look fashionable offline,” explains Hai. “We also need to polish ourselves online. That’s why some people get a pair of virtual shoes to show off online. It’s a new way of taking a fashion stand.”


The designer sees the value of the trend: “This is how new generations express the full extent of their personalities. They want to look unique online, too. There’s nothing wrong with it.”


Conversely, Hai is skeptical of the so-called revolutionary potential of NFTs in the art world.

“We must remember that NFT is not an art form; it’s a trading tool, a way of buying and selling things online. From the beginning, it’s been about making money. Also, no new art movements are coming out of it. Nothing genuinely interesting or imaginative. We’re still making old stuff, just selling it differently.”

Ke is much more optimistic. To her, artists and creatives must follow advancements and grow with technology to fully understand its benefits.


“It all comes down to how technology will develop to make things more interesting. Nowadays, selling an NFT mostly means selling a PNG file. We are not ready, but we want so much to be ready that we squeeze ourselves into it,” she adds. “It’s about trying and failing. And if you fail, you have nothing to lose. It’s not about having a goal. The only thing we can do right now is to be experimental.”

Caio Lofrano, Web3 Community Manager at Vive Arts

As the artistic arm and metaverse ecosystem of Taiwanese electronics company HTC, Vive Arts is on a mission to empower artists with innovative technology.


The company has partnered with some of the world’s most celebrated artists, including explosives artist Cai Guoqiang, who, inspired by a dream, created a VR display of colorful daytime explosions in the Forbidden City.

In 2018, Vive Arts became Art Basel Hong Kong’s first-ever VR partner and presented works by Serbian conceptual and performance artist Marina Abramović and British-Indian sculptor Anish Kapoor.


“I think artists are restlessly inventive. It’s in their nature. They always want to explore new ways to create and recreate,” says Caio Lofrano, community manager for Vive Arts.


Born in Sao Paulo and based in Taipei, Lofrano focuses on Web3 strategy for the company, and has been heavily involved in the NFT project ‘Timeless Mucha,’ a collaboration with the Mucha Foundation. The independent non-profit organization is dedicated to preserving the work of Czech painter Alphonse Mucha, a pioneer of the Art Nouveau movement.


“We digitalized some of [Mucha’s] artworks to preserve them on the blockchain, and we’ll soon sell them as an NFT collection on our own platform,” says Lofrano, who adds that there will be five drops featuring 99 of Mucha’s iconic artworks.

“It’s a way to bring the Art Nouveau movement to new audiences. People get to learn and understand more about Mucha’s influence in the art we see today.”

According to the community manager, the project has succeeded in attracting new audiences who had never heard of the artist before: “They love to learn how Mucha’s art was inspired by things, from psychedelic rock posters to comics and anime, and Marvel to Sakura Cardcaptor.”


Many artists and fans of Vive Arts gather on Discord, a social platform that was first popular among gamers. Since the advent of Web3, however, the platform has attracted new, niche audiences, including two types of collectors: art collectors who see the potential in NFTs and are eager to tackle the latest trend and crypto collectors with tech or investment backgrounds.


The latter is getting familiarized with new artists and art movements for the first time, and Lofrano thinks that some may cross over to collect ‘traditional’ forms of art. If this is the case, both the collectors and the artists stand to benefit — especially in the fine art world’s exclusive system full of private viewings and A-list mindsets.


For many, collecting isn’t even the end goal. According to Lofrano, the NFT trend is also a way to introduce artists to entirely new audiences.


“It happened to me. I don’t have an art background, but now I love learning about all these new artists, including Mucha,” says the new art enthusiast, who takes pride in his job.


Lofrano thinks that, at the end of the day, the communal aspect of the new NFT market and Web3 space is what’s most important.


“Community is at the core of everything. That’s where blockchain comes from, right? That’s what started the whole crypto and NFT movement. Despite many big shots using all these buzzwords nowadays, it all began with a down-to-earth attitude, with people who wanted to see real innovation and real change.”


Cover image designed by Haedi Yue

Jackson Wang Channels Rock Gods on New Album ‘Magic Man’

On September 9, the Chinese king of pop, Jackson Wang, released his highly-anticipated sophomore album Magic Man. To no one’s surprise, Chinese fans welcomed the release with warm enthusiasm, and a related hashtag gained more than 140 million views on Weibo in just a few hours.


Magic Man features 10 tracks, including ‘Blow’ and ‘Cruel,’ two singles released earlier this year. The third single, ‘Blue,’ dropped just a day before the album and came with its own ethereal and emotional music video.

The new release is Wang’s first physical solo studio album; the star’s debut album, Mirrors, was released only digitally in 2019.


With Magic Man, Wang takes his music in a new direction, experimenting with rock elements while retaining his previous work’s soothing and catchy qualities. Magic Man’s raw and mature sound reflects Wang’s personal and artistic growth.


“I’ve been through so much, and I’ve had such a bad time for the past year and a half, struggling in work, life, and my mental space,” revealed the artist in a recent interview with People.


After parting ways with his former South Korean record label, JYP Entertainment, in early 2021, Wang was caught in a new and uncertain phase of his career that culminated in the release of Magic Man.

2022 has been an explosive year for the artist so far. In addition to putting out his new album, the 28-year-old took to the stage at several high-profile international music festivals, such as Head in the Clouds and Coachella; he made history by being the first-ever Chinese artist to perform at the latter.


The multi-talented artist has also invested time and effort in his fashion ventures. The launch of a new collection for his brand Team Wang was accompanied by an epic release party in Singapore’s largest nightclub, Marquee.


Over the summer, Wang was asked to join the legendary Asian-American dance crew Kinjaz, an invitation he simply couldn’t refuse.


Cover image via Twitter