In 2022, approximately 70 science fiction novellas were published in China. Although the number has decreased compared to previous years, the quality remains consistent when considering the depth of subject matter, the construction of a science fiction discourse system with Chinese characteristics, and explorations in narrative artistry. In terms of subject matter, post-human, metaverse, and artificial intelligence emerged as the most popular themes, blending futuristic imaginations with genuine societal concerns. The construction of a science fiction discourse system imbued with Chinese characteristics is noteworthy. This is manifested in the transformative utilization of Chinese historical and cultural discourse, the profound integration of uniquely Chinese popular literary genres such as martial arts and fantasy with science fiction, and the incorporation of region-specific Chinese narratives. In the realm of science fiction narrative artistry, there have been avant-garde attempts at scientizing narrative language, meta-narratives, and cross-media storytelling, with further deepening in genre-specific narratives.

Huang Mingfen's theoretical resources in science fiction film studies primarily stem from his early work in art psychology, art communication, new media art theory, and the interdisciplinary rediscovery of new media literature and arts, particularly the "nine elements of communication" theory. Science fiction film theory has emerged as a "prominent field" in humanities scholarship since the new century, and Huang's academic endeavors in this area represent a bold self-transcendence and theoretical innovation, building upon his previous academic trajectory and methodological approaches. Huang employs an interdisciplinary methodology, integrating the strengths of natural, humanities, and social science approaches to construct a digital humanities research system that combines Chinese characteristics with an international perspective. Transitioning from art psychology and art communication, he ventures into new media creativity, post-human ethics, an evolving universe, and post-industrial aesthetic paradigms, establishing a multifaceted discursive system. This system not only encompasses an interplay between Eastern and Western academic theories but also highlights the modern scientific rationality of science fiction film criticism and interpretation. Huang's work significantly contributes to the transformation and variation of Chinese-style humanities and social science theoretical paradigms.

The field of new media-based medical science popularization, especially in basic medicine, is rapidly developing. However, compared to clinical medicine, the creation of science popularization content in basic medicine is relatively scarce. This disparity does not align with the significant role and potential of basic medical science within the broader medical discipline, and it somewhat hinders the long-term development of new media medical science popularization. This paper discusses the current state of new media-based science popularization in basic medical science, comparing it with that in clinical medicine. It identifies common and unique challenges in both fields. Drawing on personal and others'experiences, the author explores development strategies for new media science popularization in basic medicine. This exploration is guided by two principles:using media as a bridge to optimize narrative pathways in science popularization and adopting a human-centric approach to shape the dual roles of young audiences and creators. Finally, the paper discusses the limiting factors in the development of new media-based science popularization in basic medicine and offers constructive suggestions to energize the creation of such content.

As China's twenty-four solar terms was officially included in the UNESCO Intangible Cultural Heritage Lists in 2016, popular science film and television programs related to the theme of solar terms have also shown unprecedented prosperity. Popular science film and television programs on solar terms are obviously interdisciplinary, and at the same time, the contents of various disciplines are closely connected. Related to this is how to understand the practical significance and value of solar terms, and how to improve the quality of program ideas and communication effects in the wave of integrated media communication. These issues are also worthy of the attention of creators of popular science films and TV shows about solar terms.

Deepening the supply-side reform of popular science and prospering original popular science works are the proper meaning of promoting the high-quality development of popular science in the new era. Different cultural symbols represent the different characteristics of different nationalities and regions, and applying minority cultural symbols to popular science works on earthquake prevention and disaster reduction can provide creators with more sources of creation and forms of expression, and better enable minority audiences to get a sense of freshness and closeness, thus improving the acceptance and dissemination effect of science education on earthquake prevention and disaster reduction. This paper takes semiotic theory as the perspective, mainly combines the audio-video of earthquake prevention and disaster reduction created by Yunnan Earthquake Bureau, analyzes the manifestation form of the symbols and the communication process, and proposes the corresponding optimization strategy, in order to provide reference for the creation of future earthquake prevention and disaster reduction popular science works for ethnic minorities.

In the digital era, new media science popularization works are characterized by a rich variety of types and diverse techniques. This article takes science popularization long images as the entry point, and explores the practical experience of the China Daily new media column "Tu Tu Shi Dao" team in the creation of such images, from team building to content creation. By observing similar products and brands in the industry, the article investigates how new media science popularization long images can integrate scientific and artistic elements in both imagery and text, aiming for a differentiated construction. It also analyzes the current trend of diversification in communication media and the impact of generative artificial intelligence, offering reflections on the future development of new media science popularization long images.

In the era of new media, short videos has grown into one of the popular video forms among Chinese netizens. Popular science short videos, as an important branch of short videos, play a pivotal role in the popularization of science, eliminating the barriers of time and space in knowledge dissemination. Taking "Zhang Chenliang's popular science daily" account as the research subject and utilizing content analysis, this study reveals the techniques and Tao of creating popular science short videos in the field of life sciences. The techniques mainly include the popular science themes, release time, types of titles, presence of advertisements, language style, and keeping up with current trends. The Tao refers to scientific spirit, mission commitment, cultural cultivation, and educational sentiment. By extracting the key elements possessed by excellent popular science short videos, this study aims to provide valuable insights for content producers in the field of popular science short videos.

In recent years, popular science short videos have shown a prosperous trend, but they have also encountered various issues in content creation. This study selects 63 popular science short videos released by Bilibili uploader "Bi Dao THU" from October 2019 to May 2021 as research samples. Drawing on the three-level framework theory and employing data analysis, content analysis, and user behavior analysis, this study focuses on exploring the optimization strategies in content creation. It addresses the main problems discovered in the research, such as the significant influence of commercial factors on objective expression and the relatively limited variety in presentation styles. From the perspectives of work quality and effectiveness evaluation, as well as the integration of theory and practice, the study proposes four pathways for improving and enhancing the quality of popular science short videos: balancing commercial and content logics, exploring multidimensional presentation styles, establishing brands and brand matrices, and strengthening a sense of responsibility.

The mission of popular science is to "lead people through the door," and professors, even academic-level scientists, undoubtedly serve as the most trustworthy "guides." The popular science short video team, "No-Test-Drilling Grandma Wu," where the author works, focuses on creating short video IPs with the on-screen commentary by Wu Yuren, a scientist. This article analyzes the creative experiences of Wu Yuren's short video team in balancing the depth of content and the breadth of audience appeal. It explores their practices of selecting hot topics and focusing on cutting-edge technologies, utilizing everyday props to demonstrate small experiments, optimizing video effects through editing, and finding new topics through interactions, fostering an atmosphere of mutual learning by inspiring viewers to think critically.

Liu Cixin is a domestically recognized "essential Sci-Fi" writer, whose works have the cultural character of "engineering practicism" and carry grand narratives and ultimate questioning. Its specific manifestations include: the pursuit of the beauty of engineering creation, the value of engineering practice based on historical rationality, and the pioneering and enterprising engineering strategic thinking. This not only enables Liu's Sci-Fi to show a calm Chinese style and a calm and rational modern style, but also enriches the dimension of exploring the relationship between man and nature in science fiction, and embodies the cultural spirit of China's rapid industrialization process. "Engineering practicism" is an important factor for the realization of the social responsibilities of science fiction in Liu Cixin's works, and it also helps to understand the substantive internal unity of some textual conflicts in his scientific writing.