In the second decade of the new millennium, Chinese children's science fiction, with its imaginative patterns highly aligned with the technological era, has emerged as one of the mainstream developments in domestic children's fantasy literature. A comprehensive review of children's science fiction works from mainland China in 2022 reveals that while they inherit established creative traditions, they also highlight the distinct changes of the new era. This is evident in the expanding cadre of creators and the increasingly diverse nature of their works. Thematic and summative publications have further propelled contemporary evaluations of what constitutes "classic" in children's science fiction. However, when viewed against the backdrop of the overall development of science fiction literature and children's literature, there remain several challenges in children's science fiction creation. The sustainable and healthy growth of children's science fiction depends on its intrinsic quality and trajectory.

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.

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.

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 2022, the creation of Chinese short science fiction stories continued to exhibit a commendable trend of diversified thematic development, presenting a plethora of invigorating novelties. The creative cohort predominantly consists of middle-aged and young writers, with the emerging force of young talents being particularly robust. Many exemplary works have been penned by university students and even high schoolers. In terms of thematic exploration, authors have delved deeply into secularism, disasters, and elements intrinsic to Chinese culture, exploring a wide array of subject genres and writing styles. There are masterpieces that depict the vast expanse of cosmic galaxies, as well as new attempts that reflect upon historical and contemporary human lives. While some emulate mythical worlds, others probe into the ethical dilemmas of future human-machine relationships. The spectrum ranges from solemn, weighty works rooted in disaster and realism to playful, light-hearted short pieces.

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 cityscape of cyberpunk films is characterized by the pastiche of different oriental elements. The spatial construction of cyberpunk cities is not only an aesthetic statement, but also an expression of power structures and spatial politics. It reflects the fantasy and anxiety of Euro-centralism towards the "East", and this spatial imaginary is endowed with different connotations with the changing global cultural landscape. From the 1980s to the 1990s, the orient elements were presented as a kind of aggressiveness and anxiety brought about by the structural reset of globalized capital, which is a symbol of the Western fear of city cultural hybridity and racial cohabitation. Starting at the 1990s, the hybridized oriental space in cyberpunk films was imbued with a cultural resistance meaning, providing a realm of "heterotopia" imagination imbued with liberation for the Western subjects oppressed by the technologized urban machine. In the latest cyberpunk films, the once heterotopian oriental space has been emptied of its resistance meaning and, as a geographical consumption element, has been implanted into the visual spectacle created by digital technology.

As a leading figure in Chinese science fiction, Liu Cixin has mentioned the concept of "species images" and indeed shaped a group of distinctive racial images in his works. This paper primarily explores the significance and value of species images in Liu Cixin's science fiction novels. Through the portrayal of species images, Liu Cixin questions technocracy and moral ethics, expressing dialectical reflections on technological development. Additionally, as a Chinese science fiction writer, Liu Cixin's portrayal of species images contains strong Chinese characteristics, aligning closely with the notion of human unity against cosmic disasters or alien invasions and the consciousness of a "shared human destiny." Furthermore, Liu Cixin consistently believes that science fiction can transcend human self-admiration. Through intense debates between humans and alien races, Liu Cixin's science fiction indeed achieves the goal of "transcending narcissism."

Rapidly advancing the effective dissemination of "Dual Carbon" (Carbon Peaking and Carbon Neutrality) knowledge is a pivotal challenge for the publishing sector in the backdrop of the "Dual Carbon" strategy. Drawing upon the Media Affordance Theory, this article delves into the present landscape of "Dual Carbon" popular science book publishing. It uncovers issues in the publishing sector, such as the ineffectiveness of production affordance, superficial exploration of social affordance, and inadequate activation of mobile affordance in the realm of "Dual Carbon" popular science books. Stemming from these findings, the article suggests that the publishing industry should embrace innovative trajectories, encompassing the rejuvenation of internet-centric thought, amalgamation of diverse thought processes, user-centric strategies, and product-oriented approaches. Furthermore, it emphasizes the importance of harnessing technological advancements for content innovation and fostering cross-platform content dissemination.