In the opening of the second chapter of the Chinese AAA game Black Myth: Wukong, players find their character, "The Destined One," gravely injured on the yellow sands, was only saved by the mournful strains of the folk drama in the north of Northwest China's Shaanxi Province, or Shanbei in Chinese, performed by the headless monk. The evocative lines "Success and failure, life and death, all are beyond reason," and the poignant, melancholic tone of the performance resonate deeply with players.

This piece, lasting less than two minutes, has garnered over 10 million views on social media. It was performed by Xiong Zhuying, the inheritor of the art of Shanbei storytelling, a kind of intangible cultural heritage.

Among all of the striking and exciting elements global gamers reflected on, they shared a common feeling of "ruggedness and desolation" upon hearing the piece of Shanbei storytelling for the first time.

"The traditional elements I used to perform have taken on a new life in the game. Although it may seem very traditional, this collision has actually created something popular that resonates with all audiences," Xiong told the Global Times.

As traditional art forms nowadays struggle to find their place in modern media spaces, Xiong's combination of Shanbei storytelling with modern gaming has attracted world attention. International players, despite not being fluent in Chinese, or Putonghua, find themselves captivated by the rhythm and emotion conveyed, listening to it repeatedly and moving to its beat.

"This collaboration has really made me feel that what is ethnic is also universal," Xiong said.

Extensive revisions

It all began in 2022 when the game's production team reached out to Xiong with an intriguing proposal.

"I was thrilled at the prospect," Xiong recalled. "Shanbei storytelling is a vital part of our cultural heritage, and I saw this as an opportunity to introduce it to a broader audience."

The initial challenge was to adapt the traditional lyrics and performance style to fit the game's narrative. Xiong noted that the original lyrics provided were somewhat rigid and didn't quite capture the essence of Shanbei storytelling.

"The lyrics need to rhyme, with seven characters per line, and be catchy and easy to sing," Xiong explained. He noted that the musical style should allow one person to play multiple roles, expressing a range of emotions like joy, anger, and sorrow. The performer should shift between being a storyteller and the characters within the story, jumping in and out of different roles, reflecting a style of dynamic character portrayal.

After extensive revisions and numerous performances, Xiong crafted a version that harmonized with the game's aesthetic while preserving the integrity of the traditional art form.

The new form complements the eerie and otherworldly environment of the game. Xiong noted that the northwestern singing style and pronunciation have an inherent bleakness that aligns with the character's state.
A long path

In 2016, Shanbei storytelling was included in the first batch of the National Intangible Cultural Heritage List in China. This significant form of traditional narrative art in the vast and remote area in Northwest China is particularly popular in northern Shaanxi, including areas like Yan'an and Yulin.

Historically, performances were conducted by blind artists, who sang and played instruments such as Sanxian, a three-stringed traditional Chinese lute, or pipa, a four-string plucked lute. It was not only a form of performing art, but also a way to make a living.

"I was exposed to this art form from a young age," he recalled. "Listening to cassette tapes of Shanbei performances and attending local shows instilled in me a deep appreciation for this tradition." He then met his master at a temple fair. The master told him that he might make a better living if he learned Shanbei storytelling.

His professional career began in 2009 when he joined the Hengshan District Cultural Center as a special artistic talent. Over the years, Xiong has refined his craft and expanded the boundaries of Shanbei storytelling. His performances have earned him accolades and opportunities to showcase his art on international stages, including at the Chinese Quyi (folk art forms) Festival in Paris and the Bachshi International Art Festival.

But he still went through a very tough period.

"I could barely support my family at the time, but it was the passion and the opportunity that made me persist," Xiong said.

The opportunity Xiong got was to perform for the animated film Xuanmen: The Faces of All Living Beings. The success of this project, which combined Shanbei storytelling with animation, bolstered Xiong's confidence in cross-genre fusion.

"When I first combined Shanbei storytelling with animation, I wasn't sure how it would be received. But the positive response gave me the confidence to explore other innovative collaborations," Xiong said.

For Xiong, innovation is not about abandoning tradition but rather enhancing it. His approach involves blending traditional Shanbei storytelling with modern elements, including rap and pop music.

"After the collaboration, I found innovation is crucial to keeping Shanbei storytelling relevant," he said.

Beyond his professional achievements, Xiong is also deeply committed to preserving and promoting Shanbei storytelling. He also noted that once the excitement dies down, he wants to actively teach and mentor the younger generations to ensure that the art form continues to thrive.

As the Chinese AAA game Black Myth: Wukong gains widespread popularity, its unique artistic style and profound cultural depth have invigorated the cultural and creative market.

A representative inheritor of the Chinese intangible cultural heritage of boxwood carving, Ye Xiaopeng's original boxwood carving of Sun Wukong, or Wukong, also known as the Monkey King become highly sought after.

Originating in East China's Zhejiang Province, the craft of boxwood carving uses boxwood, known for its tough, smooth texture, fine grain, and yellow hue reminiscent of ivory. Over time, the wood darkens, acquiring a unique and rustic charm.

"Boxwood grows slowly, and the material is limited. The manual carving process is time-consuming and labor-intensive. Initially, I just wanted to showcase a few works featuring China's superhero, Sun Wukong. But after the game became a hit, these works were snapped up in an instant," Ye told the Global Times.

When discussing the boxwood carving's rise in popularity, Ye believes that the integration of traditional craftsmanship with digital technology has drawn more young people to the practice, enabling a "seamless connection" between intangible cultural heritage and modern aesthetics. This fusion breathes new life into traditional crafts, making them trendy.
Contemporary feel

"Boxwood carving can draw inspiration from modern media like Black Myth: Wukong. Artisans should seize the opportunity to create works that retain their cultural essence while resonating with contemporary tastes," Ye said. "When creating the Monkey King, I focused on expressing his inner spirit and contemporary significance through details. For example, the Monkey King wears a purple-gold crown and armor, exuding a mighty presence that symbolizes a spirit of perseverance and bravery."

Ye explained that this piece combines traditional boxwood carving techniques such as clay modeling, ­initial shaping, and final detailing, while also incorporating modern elements like gilding the ends of the Golden Cudgel, Wukong's magical weapon, enhancing the work's beauty and value. This blend not only preserves the essence of traditional craftsmanship but also gives the piece a contemporary feel.

"As inheritors of intangible cultural heritage, we are responsible for helping more people understand and appreciate traditional art. I strive to promote boxwood carving, bringing it to life in modern society," Ye said.

"In contemporary society, the role of traditional craftsmanship is not only to preserve heritage but also to innovate. We must innovate and seek ways to collaborate with the industry, creating works that the public loves, accepts, and resonates with," he noted.

To appeal to younger audiences, Ye recently designed the "Dragon Egg Baby," which features a moveable "lucky bead," with monthly sales exceeding 5,000 units. A symbol of literary achievement, the "Wenchang Star," launched during the high school and college entrance exam season, and followed current trends.

When the Chinese animated film I Am What I Am was released in Japan in 2023, Ye quickly designed and crafted a boxwood carving of a Chinese lion. To add a playful touch, the lion was fitted with a hanging string and bells, making it suitable both as a handheld toy and as a wearable accessory.

In Chinese culture, the lion traditionally symbolizes auspiciousness and good fortune. The sales team also created slogans that appeal to young people, such as "When the bell rings, wealth comes your way," helping the lion carving to become a hit, with sales reaching 60,000 units in a single month.
Pulse of times

"Traditional craftsmanship plays a crucial role in continuing culture in contemporary society," Ye told the Global Times. "Some people might associate boxwood carvings with being outdated or unfashionable," Ye noted. "While figurines are popular among young people, boxwood carvings can also keep up with trends."

It is said that the first generation of Ye family boxwood carvers was born in a rural area. As a child, he encountered a statue sculptor who came to the village to make Buddha statues. Impressed by the boy's talent, the sculptor took him on as an apprentice, setting him on the path of professional boxwood carving.

"I've always believed that traditional handicrafts are not meant to be appreciated in isolation; they need to resonate with the times and meet modern needs," Ye said.

As a professor, Ye encourages his students to create freely in their work, and has brought together a team of young teachers with study backgrounds in countries like Italy, Finland, and Japan. Additionally, he has collaborated with Chinese business associations in over 10 countries, including Italy, France, and Spain, to establish the Maritime Silk Road Cultural and Creative Industry Institute.

"I strive to balance preservation and innovation through a young design team, combined with the digital economy, and new media promotion," Ye said.

"It is undeniable that the rapid dissemination of digital products has accelerated the internationalization of our traditional culture. If we can feel the pulse of the times and ride the wave of digitalization, traditional handicrafts can still achieve revival under new historical conditions."

Editor's Note:

The escalation of recent tensions between China and the Philippines raises concerns among neighboring countries in the South China Sea. How will the Philippines' provocations, instigated and supported by the US, affect the situation in the South China Sea in the rest of 2024? Why does ASEAN hope that the situation will be contained? 

In the "ASEAN Perspective on the South China Sea" series, we collect wisdom and insights from former diplomats and scholars from ASEAN member countries. In an interview with Global Times (GT) reporter Wang Wenwen, Benedict Weerasena (Weerasena), research director of Malaysia-based Bait Al Amanaha, an independent research institute, said that the key to managing the situation in the South China Sea is peaceful dialogue. 

Engaging as much as possible in diplomacy is essential, and all parties should exercise restraint, despite the threat of tensions escalating, he noted.  

GT: Since last year, tensions in the South China Sea have been escalating. In a recent move, the Philippines made provocations at Xianbin Jiao in the South China Sea, with its ship continuously and dangerously approaching China Coast Guard ships that were conducting normal navigation. What do you think of the Philippines taking these provocative actions?

Weerasena: I believe that it's a reassertion on the Philippines' hedging strategy. The competitive game between China and the US has contributed to the Philippines' hedging strategy against China while ensuring that its ties with the US remain positive.

If we look at the past two decades, we can see that there have been three key phases of the Philippines's hedging pattern against China. 

The first phase, from about 2001 to 2010, can be characterized by cooperative behavior over confrontational behavior with China. The next phase, from 2010 to 2016, saw a shift toward confrontational behavior over cooperative behavior. Finally, in the third key phase, from 2016 to 2022, a moderation of oppositional behavior can be seen. 

Looking at these phases, it is clear that the Philippines in the past two decades has definitely been influenced by domestic changes in governance as well as external factors with regards to how it has addressed the issue in the South China Sea. 

The Philippines has repeatedly made public statements confirming that it is pursuing diplomacy over military action in response to rising maritime tensions. This is the position that most Southeast Asian countries take. I hope that the Philippines is sincere and this commitment is backed up with action.

GT: To what extent will the Philippines' actions regarding the South China Sea disputes and its leaning toward the US affect ASEAN as a whole?

Weerasena: I think the foundational point to remember is that all ASEAN members exercise their own foreign policies. Because of this, it is hard to dictate what each member state should or should not do.

That being said, the Philippines' actions regarding the South China Sea have definitely somewhat impacted ASEAN unity and centrality. This has led to potential fragmentations. 

For example, we can see slight fragmentation between Singapore and the Philippines. In other words, ASEAN unity, or the way ASEAN sees foreign policy, has been somewhat impacted by the developments in the South China Sea.

I also believe that this will influence how ASEAN, as a whole, navigates its relationships with external powers, both in the short term and the long term, particularly in terms of how ASEAN responds to both China and the US. 

Furthermore, it has definitely impacted ASEAN's position and influence as a negotiator in global forums and as a regional convener, as different member states have adopted different foreign policies for their own national interest. 

However, I don't think ASEAN's influence and impact are in danger of being completely undermined. Definitely, fragmentation is what's happening now, and I think that this fragmentation will continue in the near future. Nevertheless, I do not believe this fragmentation will lead to a complete breakdown of the role of ASEAN.

GT: What is the key to managing the situation in the South China Sea?

Weerasena: For me, above all, it's peaceful dialogue. Engaging as much as possible in diplomacy is essential, and all parties should exercise restraint, despite the threat of tensions escalating. 

Of course, I understand that this is much easier said than done. That's why the second thing we need to manage is the code of conduct. ASEAN really needs to speed up the negotiations with China regarding the code of conduct to mitigate the risk of conflicts in this highly contested South China Sea. 

There have been challenges in finalizing the code of conduct, which policymakers say will be completed by 2026. I think to facilitate this process, two things need to happen. First, greater trust needs to be built between the nations, especially among ASEAN member states and China. Second, the participants need to be willing to sign a legally binding agreement. I think this will definitely be a make-or-break situation for the effectiveness of the code of conduct.

GT: China and Malaysia have maintained friendly relations despite the South China Sea issue. What can the Philippines learn from this? 

Weerasena: I think Malaysia has always positioned itself as equidistant between the US and China. It's maintaining a neutral position on a macro level while seeking inclusive but selective multi-layered partnerships with competing powers across micro-level domains.

I think that Philippines should commit as much as possible to being consistent on neutrality. Of course, as a third party and analyst, I can't dictate how the Philippines should decide on its foreign policy. However, I think it's very important for every ASEAN member state to continue pursuing a neutral equidistance stance between the major powers in the region.

Of course, we will still be committed to protecting our sovereignty, sovereign rights and interest in the maritime areas, in the South China Sea. But we must always remember that any issues, any matters and any conflicts must be resolved peacefully and constructively. And this is in accordance with the universally recognized principles of the international law, including in 1982 UNCLOS. 

I think it's very important that we uphold this "rules-based order" that we have in the South China Sea, to resolve disputes through peaceful means via existing platforms and diplomatic channels, without compromising our principled positions.

Illustration: Liu Rui/GT

This year marks the 50th anniversary of the discovery of the Terracotta Warriors, one of the greatest archaeological finds of the 20th century. On Sunday, an international conference on protecting the Qinshihuang Mausoleum and its surrounding heritage site was held. 

That same day, an exhibition also opened at the Qinshihuang Mausoleum Site Museum in Xi'an, Northwest China's Shaanxi Province, to commemorate the 50th anniversary of the discovery and excavation of the iconic Terracotta Warriors. It is also the first exhibition of its kind to showcase such a broad selection of artifacts - 230 pieces from significant discoveries made over five decades. 

In 1974, local farmers accidentally unearthed clay fragments while digging a well, leading to the discovery of the Terracotta Warriors.

Around 2,000 life-size clay warriors and numerous weapons have been unearthed from three pits surrounding the tomb of Emperor Qinshihuang of the Qin Dynasty (221BC-207BC), the first emperor of a unified China. The army of Terracotta Warriors was added to the UNESCO World Heritage List in 1987.

After 50 years of excavation and research, over 10 above-ground building sites and more than 500 underground burial pits and tombs have been discovered in the mausoleum. Over 50,000 relics have been unearthed.

As we reflect on this half-century of excavation and preservation, it's clear that the Terracotta Warriors have evolved into more than just an archaeological marvel - they have become a cultural icon for China and the world. The influence of the Terracotta Warriors goes far beyond their historical and artistic value. 

Li Gang, director of the Qinshihuang Mausoleum Site Museum, captured the significance of the Terracotta Warriors perfectly when he described them as a "wonder in the history of world heritage exhibitions" and a "gold business card" for Chinese cultural heritage diplomacy.

"They play an irreplaceable role in enhancing the shared identity of the Chinese nation, promoting cross-cultural exchange, and contributing to global cultural heritage governance. By telling the story of these ancient warriors, they have made a unique contribution to fully, comprehensively, and authentically showcasing both ancient and modern China," said Li.

Over the past 50 years, archaeologists have revealed the complex layout of the mausoleum, centered around the emperor's burial mound and surrounded by inner and outer walls, burial pits, and accompanying tombs. 

The artifacts from the site offer a glimpse into the technological, material, and institutional advancements that emerged around unification of China under Qinshihuang.

Opening Sunday, the exhibition showcases 230 relics from significant discoveries made over five decades. The exhibition uses innovative display techniques, such as large-scale models, digital interaction, and live broadcasts, to present the mausoleum's history, design, and cultural value from multiple perspectives. 

Notably, the artifacts on display, including those unearthed from the eastern gate of the outer city, the tomb's architectural remains, and accompanying tombs, are being presented to the public for the first time. 

According to Ye Ye, deputy head of exhibition department of the Qinshihuang Mausoleum Site Museum, the exhibit follows the design philosophy of the mausoleum, highlighting its grand layout, ceremonial buildings, burial pits, tombs, and unearthed artifacts, vividly portraying the rich political, economic, military, and artistic life of the Qin Dynasty.

The global appeal of the Terracotta Warriors has been evident since their first overseas exhibition in Japan in 1976. Since then, the artifacts from the site have traveled to 49 countries and nearly 200 cities, with 277 exhibitions drawing in more than 20 million visitors, according to media reports. These international tours have played a crucial role in spreading Chinese culture, history, and values across the globe. 

Beyond their cultural significance, the Terracotta Warriors have been a key player in promoting international cooperation. The year 2024 also coincides with the 45th anniversary of the establishment of the Qinshihuang Mausoleum Site Museum. 

The museum has signed cooperation agreements and memorandums with institutions from countries including Germany, Belgium and the UK, advancing China's principles of heritage protection on the global stage. These collaborations help promote China's conservation methods.

The Terracotta Warriors site not only allows visitors to witness the "Eighth Wonder of the World," but also provides a model and experience for the protection and display of large-scale archaeological heritage in China. 

In many ways, the preservation of the Terracotta Warriors symbolizes the broader advancements in China's cultural heritage field. From the painstaking eight-year restoration of the bronze chariots and horses to the use of advanced technology to stabilize fragile artifacts, the outstanding technology and craftsmanship not only demonstrate the dedication of cultural heritage workers but also highlight the pursuit of excellence in China's cultural heritage preservation efforts.

A deepfake crime surge in South Korea has sparked worries in China as Chinese experts said on Sunday that AI-powered scams have turned into an international concern, and social media platform operators should take more action.

Numerous chat rooms suspected of creating and distributing deepfake pornographic material with doctored photos of ordinary women and female service members have been reportedly discovered on messaging app Telegram recently, with many of the victims and perpetrators known to be teenagers, The Korea Times reported last week.

Perpetrators reportedly used social media platforms such as Instagram to save or screen-capture photos of victims, which are then used to create deepfake pornographic material, the Guardian reported.

The incident in South Korea attracted particular attention in China after multiple netizens, claiming to be South Korean women, posted on Chinese social media platforms recently, saying that they hope Chinese netizens will spread the story as they are that afraid that the incident is being overlooked in their country, Shanghai-based news website thepaper.cn reported on Saturday.

There are similar situations in other countries, making deepfake technology an international problem, Xie Yongjiang, a professor at the Beijing University of Posts and Telecommunications, told Global Times on Sunday. 

As AI develops, deepfake technology is increasingly realistic, and coupled with the fact that it does not require specialized knowledge; more criminals are now scamming by means of counterfeiting some videos and pictures, and more attention should be paid to it, he said.

In June, a male suspect in China surnamed Bai was prosecuted for producing and selling obscene materials for profit as he used deepfake technology to create nearly 7,000 fake nude photos involving female students and teachers.

Since the wider public are not yet capable of differentiate AI-generated content from reality-based content, relevant authorities should develop appropriate identification technologies, Xie said, suggesting social media platform operators to set up mechanisms to deal with the issue.

Editor's Note:

The 2024 Summit of the Forum on China-Africa Cooperation (FOCAC) is being held in Beijing from September 4 to 6. It takes place at a critical juncture when the world is grappling with various regional and global crises and there is a pressing need for countries from the Global South to join hands. How will this year's FOCAC elevate ties between China and Africa? What is the significance of building a high-level China-Africa community with a shared future? The Global Times (GT) interviewed a number of former officials and pundits from various African countries to share their insights and stories. 

In the fifth article of this series, GT reporter Su Yaxuan interviewed Busani Ngcaweni (Ngcaweni), director-general of the National School of Government in South Africa and research associate in world economics at the University of the Chinese Academy of Social Sciences.

GT: The theme of the 2024 Summit of the FOCAC is "Joining Hands to Advance Modernization and Build a High-Level China-Africa Community with a Shared Future." What's your perspective on this theme?

Ngcaweni: FOCAC is a significant platform for engagement between China and Africa. "Joining hands to advance modernization" indicates that this forum aims to focus on mutual development in a context of mutual respect, recognizing the need for cooperation.  

"A shared future" reflects how China views its relationships with other parts of the world and how it engages with other countries and regions, emphasizing that establishing common goals is essential. In practice, it means that shared aspirations are combined with the sharing of resources. It also entails deepening collaborative efforts and treating others with respect and as equals. 

GT: Regarding China's increasing engagement with Africa in recent years, is this development positive for the African continent?

Ngcaweni: Some people are concerned about China's influence in Africa. Who is worried and why?

In my view, those who are particularly concerned, especially in the West, recognize that there is now an alternative modality of cooperation and that they no longer have a monopoly on influence over the African continent. They are also compelled to acknowledge that a different approach is possible - one that goes beyond imposed conditionalities and exploitative relationships, which are not developmental in form and substance. Those who attempt to articulate concerns about China's possible "exploitation" often fail to provide an alternative, nor are they committed to engaging in developmental initiatives that equalize opportunities. 

Many are concerned because they fear trade competition. China has been doing well, affirming increased intra-African trade and reducing many countries' dependence on their former colonizers. Some also assume that Africans cannot negotiate better contracts and that the relationship with China is biased. Such assumptions are somewhat racist and based on the presumption of low capacity. However, Africans are now at the forefront of securing better deals and ensuring that we act in the longer-term interest of our people in Africa. 

GT: In what ways can China assist Africa in its energy transition?

Ngcaweni: There is an incredible opportunity for mutually beneficial cooperation between Africa and China on the green energy transition. Africa has many opportunities to do things differently and to utilize our natural endowments more effectively. The continent has many of the minerals needed for new green energy equipment. China increasingly recognizes that Africa, as an industrial hub for production, makes much more sense than merely serving as a source for raw material exports. This approach emphasizes mutual benefit and win-win strategies. Naturally, we must continually restate the importance of industrialization and manufacturing in Africa so that China continues to benefit from infrastructure investments. A much more aggressive approach to investments in industrialization would be the next step in demonstrating to the world that this relationship is about mutual development and it's not as one-sided as many would like to propose. 

GT: You mentioned that "it is crucial to tell the real China-Africa story." Could you share some examples of such stories? 

Ngcaweni: Let me give you an example about South Africa. In South Africa, we are one of the fastest-growing markets for Chinese vehicles. 

In my interpretation, ordinary South Africans use their money, go to a bank, and obtain loans to buy cars made in China, such as those from Great Wall Motor or Haval. It means that people are embracing products from China, which are increasingly perceived as being of good quality. 

This is not a government activity. These are individuals and households making their own spending choices. That's the real story of how South Africans connect with China on a personal level. This mutual appreciation highlights the people-to-people connections between the two countries.

To measure the relationship between the two countries, you must go deeper into it. Then you will find that South Africans want to study in China because they feel safe, see opportunities, and believe they will receive higher-quality education.

GT: Western media has portrayed China's development financing in Africa as a "debt trap." How do you respond to this narrative?

Ngcaweni: China is not interested in establishing a culture of conditionality. China is not interested in imposing policies in Africa. Its ethos revolves around finding common solutions to challenges as they arise. Regarding the "debt trap" narrative, we must question these alarming tendencies. What exactly is this trap? Africa needs to develop and requires resources, and credit lines are opening, especially from China. The BRICS Bank (New Development Bank), the African Development Bank and others have agreed to establish credit lines that are different from historical ones. These credit lines are not accompanied by conditionalities that make our people's lives impossible. They are really about implementing projects. 

So, I don't believe the "debt trap" narrative. The main issue is that Africans must negotiate and sign good, mutually beneficial contracts with China.

GT: What are your prospects for the future of China-Africa cooperation?

Ngcaweni: The opportunities for the future are great. If we sustain the current momentum, we will likely tell a very different story of development moving forward. Our current narratives are dominated by a history of exploitation, followed by neo-colonial penetration, aid dependency and a lack of development. Many in the Global North have gone so far as to suggest that Africa is a lost continent. They fail to understand that what is unfolding will make a significant difference for everyone around the globe.

The prospects for China and Africa are very positive. China is focused on developing and navigating realities that are mutually beneficial. Our people welcome relationships where they can experience the tangible benefits of modernization and mutual development. This FOCAC summit has substantial and real value for China and Africa. 

We need to communicate better and more effectively to convey the real story. It is the people who will defend the relationship between our countries for a long time to come.

Experts call for attention and countermeasures to prevent cybercriminals from using new technologies such as artificial intelligence (AI) powered deepfake technology amid growing concerns over the issue around the world.

Numerous chat rooms suspected of creating and distributing deepfake pornographic material with doctored photos of ordinary women and female service members have been reportedly discovered on messaging app Telegram recently, with many of the victims and perpetrators known to be teenagers, The Korea Times reported last week.

Telegram had removed certain deepfake pornographic content on its platform and apologized for its response to digital sex crimes, the Yonhap News Agency reported Tuesday citing South Korea's media regulator.

The issue has raised outrage among South Korean netizens, which soon spread to its Chinese neighbors after some South Korean netizen brought it to Chinese social media platforms.

But it is just the tip of the iceberg of the Telegram's deepfake porn scandal. On August 28, a court in Paris filed a charge against Pavel Durov, 39-year-old Russian billionaire and founder of Telegram, for being complicit in the spread of images of child sexual abuse, as well as a litany of other alleged violations on the Telegram messaging app.

While Durov responded mockingly to the charge by changing his Twitter handle to Porn King, global scientists, governments and regulators view the issue as an urgent alert for them to strengthen measures to prevent cybercrimes powered by new technologies.

Deepfake refers to a kind of technology that uses a form of AI technology called deep learning to make images of fake events, hence the name deepfake.

The core principle of deepfake technology is to animate 2D photos using specific image recognition algorithms or to implant a person's face from a photo into a dynamic video, The Beijing News reported citing an industry observer named Ding Jiancong.

Recently, voice synthesis has also gradually been incorporated into the concept of deepfake. With the gradual maturity of AI large model technology in recent years, some AI image generation models, while pursuing greater realism, have inadvertently become accomplices in AI face-swapping or AI nudity, Ding said.

For instance, the well-known large model Stable Diffusion was developed with a one-click nudity feature, which once became widespread. Although the model later modified its related functions to curb such behavior, the open-source nature of the technology has already opened a "Pandora's box," making it difficult to close again, Ding warned.

Apart from the new deepfake crime, there are also two other types of risks brought about by new technologies, Xiao Xinguang, chief software architect from Chinese cybersecurity company Antiy, told the Global Times.

First, new technologies will drive the escalation of traditional threats and risks. For example, in cyberattacks aimed at stealing information or targeted ransomware, AI technologies can significantly assist throughout the entire attack process, including enhancing the efficiency of discovering attack vectors and automating attack activities, according to Xiao.

Second, the infrastructure of new technologies will become targets of exploitation. Large model platforms are becoming new hubs for information assets, and the entry points for large model applications are also becoming new exposed surfaces that are vulnerable for attacks, Xiao said.

The expert believed that with the advancement of AI technology, it is unrealistic to stop people from using AI to generate fake videos or images. Instead, it will be more effective to have strict regulations over the dissemination of technology.

Xiao was echoed by founder and chairman of 360 Security Technology Zhou Hongyi. When talking about the threats brought about by AI technologies at a forum held in North China's Tianjin municipality on Wednesday, Zhou said that "we must use AI to counter AI."

"AI technology is profoundly affecting various industries, bringing opportunities for the development of new productive forces, but also bringing many new security challenges. It is necessary to reshape security with AI and to create security large models and reshape security products with specialized large model methodologies, which will reform the security industry," Zhou said.

Strict regulations and law are also necessary. AI technology platforms should have reviews for the content uploaded and generated, and users should be required to register with their real names. There should also be severe crackdowns on tools or websites that support illegal activities, experts noted.

China and Africa have deepened meteorological cooperation to enhance their climate change response and disaster risk reduction capabilities, achieving fruitful results in recent years, under the Forum on China-Africa Cooperation (FOCAC) and the Belt and Road Initiative (BRI) frameworks.

China has implemented meteorological infrastructure projects in several African countries, including Zimbabwe, Kenya and Namibia. These projects include establishment of automatic observation stations, and data reception and processing systems for the Fengyun-3G, a satellite dedicated to measuring precipitation on Earth, according to the China Meteorological Administration (CMA).

The CMA has initially established an early warning service platform designed for developing countries and regions. It plans to collaborate with more African countries to jointly develop and construct meteorological early warning service platforms, utilizing services such as China's Fengyun-3G, aiming to strengthen disaster prevention and climate change response capabilities in Africa, according to the CMA.

Establishing meteorological early warning systems has been included in the 10 partnership actions for modernization proposed by China to deepen China-Africa cooperation. 

Meanwhile, visiting meteorological scholars from BRI countries have recently participated in meteorological exchange and cooperation between China and Africa, according to the CMA. 

Limited meteorological observation capabilities hinder effective responses to climate change and the management of weather-related disasters in Africa, said Ma Jun, director of the Beijing-based Institute of Public and Environmental Affairs.

It requires improved access to data, monitoring, forecasting, and early warning systems, to strengthen the adaptation capabilities to climate change in Africa, especially given the rising frequency of extreme weather events, Ma said.

While the US "decoupling" push appears to be aimed directly at China, it is ultimately a form of trade protectionism intended to protect US domestic industries. In this light, even India, viewed as a potential alternative supplier for the US, is experiencing the strain.

Indian solar panels are facing US scrutiny for possible links to so-called "forced labor" in China, Reuters reported on Tuesday. 

US Customs and Border Protection (CBP) has detained approximately $43 million in shipments of electronics equipment from India since October 2023 under the US "Uyghur Forced Labor Prevention Act (UFLPA)," according to agency data.

While it is unclear what specific types of electronics equipment the CBP has detained, the situation reflects the protectionist conundrums facing India as it develops its manufacturing sector.

The "forced labor" claims about Northwest China's Xinjiang Uygur Autonomous Region are utter lies concocted by some politicians in the US. The move is actually aimed at impeding China's manufacturing development by excluding the region from the global supply chain.

Superficially, the detainment of India's electronics products may seem to be mainly targeting Chinese manufacturing, but in essence, it is aimed at protecting US interests by ensuring the competitiveness of American companies and the economy.

It is apparent that the current development of the Indian manufacturing sector is, to a large extent, dependent on the Chinese supply chain, as India needs Chinese raw materials, components, technologies and services. 

The fact that China edged past the US and emerged as India's largest trading partner with $118.4 billion of two-way commerce in the Indian fiscal year 2023-2024 - from April 2023 to March 2024 - is sufficient to prove that Indian manufacturing cannot exclude products, technologies and services imported from China.

India's exports of electronics goods to the US have surged quickly. For instance, US trade data showed that imports of solar products from India have soared in recent years, hitting $2.3 billion last year, according to Reuters. In the second quarter of 2024, India accounted for 11 percent of US solar panel imports, more than double its share in the previous quarter, according to S&P Global Market Intelligence.

Against this backdrop, it is not surprising that Indian producers have faced setbacks, given the increasing protectionist trend in the US solar industry. This is because any foreign industry that poses a threat to US interests or competes with US industries is likely to be targeted by Washington's trade protectionism, regardless of its origin, be it China, India, the EU or any other economy.

The trend is now clear - the US is increasingly inclined to adopt trade and industrial protectionist measures in order to boost its manufacturing revival, especially in the new-energy and other strategic sectors. 

There is no denying that some of India's exports to the US, such as solar panels and textiles, are seen as alternatives to Chinese products for the US, but they are likely only temporary solutions.

In the long run, if Indian industries grow to compete with their US counterparts, which is inevitable, the US is bound to resort to tougher protectionist policies using various excuses.

Amid rising global trade protectionism, India faces much greater resistance in improving its position in the global industrial chain than China did in the past, when it comes to developing the manufacturing sector. 

If anything, the US-led "decoupling" push aimed at squeezing Chinese manufacturing out of the global supply chain is unlikely to give India much time or opportunity for large-scale manufacturing growth.

In this context, India needs to diversify its export markets and seek more opportunities in the Asian industrial chain by strengthening cooperation with regional countries to jointly address the challenges of trade protectionism. India needs to enhance trade cooperation with other developing countries in order to collectively uphold the smooth functioning of international trade.