建军大业
When a Chinese mythic world travels without translation_我的网站
A | 景区采购票务系统，甲方最怕的不是报价高，而是报价说不明白。
Chen Aijun works in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)The video came with almost no instructions.
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.
Chen Aijun makes AI videos in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)
。 合同签之前，方案里写着“支持线上售票”“可对接闸机”“包含实施服务”;等到项目启动后，才发现小程序、渠道接口、设备安装、数据迁移或人员培训都需要另行沟通。预算因此不断变化，项目负责人也很难向内部解释每一笔投入的用途。
一份真正有参考价值的报价，不应该只给出一个总金额，而要让甲方看得懂：系统做什么、设备放哪里、服务包含什么、后续变化怎么处理。易景通景区票务系统可根据项目需求提供相应配置方案，报价沟通的重点，是把需求与费用边界逐项对齐。 先把“要建什么”讲清楚，报价才不会跑偏
景区票务系统的建设范围，往往比“买一套售票软件”复杂得多。 一个单入口景点，可能只需要窗口售票、线上购票和人工扫码核验;一个主题乐园或文旅综合体，则可能需要年卡、套票、联票、分时预约、多入口检票和园内项目核销;老景区升级时，还可能涉及旧闸机、旧订单和已有设备的处理。 甲方在询价前，应先整理票种、销售渠道、入口数量、客流特点、现有设备和后续业务计划。
B | 易景通可结合这些信息梳理软件功能、硬件配置和实施服务范围。需求越具体，报价越容易贴近项目实际。 报价单里，“包含”两个字要问得具体
采购沟通中，最容易产生误解的词就是“包含”。 “包含线上售票”，是包含基础购票入口，还是同时包含小程序、公众号、官网和多个合作渠道?“包含闸机”，是只提供设备，还是包含安装、调试和与票务系统的联动?“包含培训”，是讲一次后台操作，还是覆盖售票、检票、财务和运营岗位?
甲方不需要用专业技术语言提问，只需让服务方把每项内容解释为可验证的结果。例如，游客从哪里购票，订单如何进入后台，到入口如何核验，异常票由谁处理，报表由谁查看。 易景通可依据双方确认的项目范围提供相应服务。功能、设备和服务内容写得越清楚，后续项目推进中的理解偏差就越少。 软件、硬件和服务，最好分开核对
票务系统报价通常包含三类主要内容。 第一类是软件。票种管理、订单管理、库存控制、窗口售票、线上购票、预约、年卡、渠道订单和报表等功能，应明确哪些是当前需要的核心模块，哪些是后续可扩展项目。 第二类是硬件。
C | 闸机、扫码终端、手持检票机、售票电脑、打印设备和自助终端等，应注明型号、数量、使用位置和是否包含安装调试。已有设备能否利旧，也应以设备状态、接口条件和测试结果为准。 第三类是服务。需求梳理、系统配置、数据处理、设备联调、人员培训和上线支持，应明确由谁负责、做到什么程度、通过什么方式配合。 易景通可围绕票务软件、检票设备及项目实施提供协同方案。
D | 甲方将三类内容分开核对后，就不容易被单一总价影响判断。 别只比较数字，要比较相同的建设范围
两份报价相差较大，不一定说明其中一份不合理。可能是因为一份方案包含闸机和设备安装，另一份只有软件;一份已经考虑渠道订单和员工培训，另一份则需要后续追加;一份按现有设备利旧设计，另一份则全部按新设备配置。 因此，甲方比较价格时，应该让不同供应商按照尽量接近的需求清单报价。只有软件模块、设备数量、接口范围、实施服务和后续维护处在相同基础上，价格比较才有意义。 易景通建议景区在内部确认一份统一需求说明，再与服务方逐项核对。这样，采购不只是“比谁便宜”，而是比较谁的方案更符合项目实际。 后续费用，也要提前问在前面
景区票务系统上线后，业务还会继续变化。活动票要上新，年卡政策要调整，渠道可能增加，入口和设备也可能扩展。 甲方在签约前，可以提前了解几个问题：后续增加票种如何配置?新增一个入口或设备如何评估?需要接入新的渠道时，费用和周期如何确认?系统维护和问题反馈的服务边界是什么?
易景通可根据项目合同和实施方案提供相应的后续服务支持。把这些变化场景提前约定下来，甲方在后续经营中就更容易做预算，也能减少临时沟通带来的不确定性。
易景通景区票务系统透明报价的意义，不是承诺一个放之四海皆准的固定价格，而是让甲方在采购前看清每一项投入的依据。 软件解决什么业务，设备服务哪个入口，实施覆盖哪些工作，后续变化如何评估，这些内容都能讲清楚，甲方才能真正掌握项目节奏。报价明白、范围明确、责任清晰，才是景区票务系统采购中更可靠的沟通基础。
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