This paper analyses Shuen-Shing Lee’s 李順興 Chinese translations (2001) of Jim Andrew’s digital kinetic poetry, Seattle Drift (1997) and Enigma n (1998). It examines the differences between the Chinese and English versions in terms of their forms and semantic meanings, highlighting the unique challenges of translating digital kinetic poetry between alphabetic letters (English) and logographic sinographs (Chinese), where the morphogram nature of individual sinographs plays a different role in the meaning-making process when they are used as building blocks of text-based digital arts. This paper also highlights the necessity of considering various linguistic elements beyond just semantic meanings when translating text-based digital works. Lee’s translation, guided by the specificity of the sinograph and the tactics he employed, enhances the semantic values of the texts in both works, making them more explicit in the translated versions than the originals. This transformation changes the works’ aesthetics from Lettrist/concrete poetry to more like visual poems. At the same time, it helps maintain Andrew’s idea of “langwidget”, a linguistic unit as a widget for basic material in a digital context, which is more malleable than mere words. The outcomes of this study help locate the differences on a materiality level between Latin letter-based and sinograph-based digital work.