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.

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.

Released in 2022, the domestic sci-fi comedy Moon Man marked a significant milestone in the realm of science and film integration in China, primarily due to the pivotal role of its scientific consultants. This film has emerged as a paradigmatic example for teams dedicated to the fusion of science and cinema. Technological advancements have catalyzed the industrialization of the film sector, while the synergy between science and artistry has amplified the allure of science fiction films. This article delves into the film's innovative appeal and its success factors, examining the amalgamation of science fiction with comedic elements, the nexus between scientific principles and artistic representation, and the profound impact of scientific consultancy. The insights gleaned from this analysis offer valuable reference points for future endeavors in science fiction film innovation and the broader science-cinema integration mechanism.

Since the beginning of the new century, Chinese nature literature has gradually developed into a unique genre that stands alongside American nature literature and environmental literature. This article focuses on the contributions of Han Jin, who is a writer and critic, to the theoretical development of Chinese nature literature and his achievements in the study of Liu Xianping's nature literature. The author believes that Han has tracked and commented on Liu's nature literature, constructed a self-contained theory of Chinese nature literature, and for the first time has provided a theoretical account of the historical lineage and future development of the "Anhui phenomenon" in Chinese nature literature from a theoretical perspective. The author looks forward to more new works by Han in this field, and that more scholars will participate in the study of Chinese nature literature represented by Liu's works. At the same time, the Chinese nature literature and criticism community should also engage in more dialogues and exchanges with American nature literature, environmental literature writers, and Western environmental aesthetics thinkers.

American contemporary biologist, naturalist, and popular science writer Edward O.Wilson has strong ecological consciousness, he vigorously advocates ecological ideas, such as "Biodiversity", "Half-Earth", "Biophilia" and so on, in his popular science works. Wilson has practiced these concepts by dedicating himself to the protection of biological diversity, pursuing the symbiosis of nature and human beings, and building an intimate relationship between man and nature. The formation and development of Wilson's ecological consciousness is largely due to his strong interest in the study of nature and his relentless pursuit of scientific truth. His ecological thoughts, ecological practice, and popular science works are valuable references and inspirations for contemporary ecological literature and ecological popular science writing.

There is an inextricable relationship between popular science writing and children's literature writing. The concepts of "popular science", "science literature and art" and "children's literature" have their own independent connotations and extensions, and it is important to pay attention to the differences and the independent qualities of each, but also to the connections among them. The creative values of popular science and children's literature are undeniable, and they can be promoted and developed together from various paths.

"Cyborg" is based on the technical replacement, enhancement, or extension of the body, and "body" is a key dimension of its image that cannot be ignored. Among the many "cyborg" images in contemporary Chinese science fiction literature, the "miniature" conception of body structures, related to the "miniaturization" orientation of cognition and technological development, implies a desire to seek breakthroughs in material boundaries, forming a unique aesthetic sense of "mutuality" with the whole body. The "miniaturization" of the body implies a re-examination of human values and aesthetics. In the subsequent stages, the process of human-computer adaptation has individual differences due to differences in technical complexity and understanding of the relationship between mind and body, and this variation is reflected in hierarchy and diversity of the "symbiosis" process. In the final stage, the transformation of the body leads to a change in identity, and t the concept of "human" changes dynamically in the "new human-old human" divide resulting from the integration or non-integration of technology, while the "swarm intelligence" setting is an experimental presentation of the shifting relationship between the individual and the collective.

Chinese science fiction tends to have the mandate to enlighten the public and popularize science, Taiwanese author Egoyan Zheng's full-length science fiction novel The Dream Devourer not only popularizes science but also demonstrates the lyrical dimension of Chinese science fiction, expressing the identity concerns and cultural nostalgia of the post-human era. While constructing a technocentric post-human landscape, The Dream Devourer attempts to respond to the call of posthumanism by subverting anthropocentric views. However, the novel reduces humanity, a norm of values, to emotion, making it the key to distinguishing between human and non-human. Ultimately, the novel remains a quest for the "Man". At the same time, the novel uses "emotion" as a medium to explore the path of human redemption in a post-human era with technology at the center, but it also exposes the limit of humanist emotions. In conclusion, The Dream Devourer shows the "emotion-orientation" of Chinese science fiction, but also presents a post-human myth.

The fun features of Li Yupei's mathematical fairy tales allow children to increase their knowledge and pursue truths while having fun, ultimately achieving the effect of fun and enjoyment in learning. Under the "double-reduction" educational policy, Li's mathematical fairy tales complement the classroom and achieve the purpose of reducing students' learning pressure and increasing their learning effectiveness. This article focuses on fun features of the texts and analyzes Li's fairy tales from several aspects, including literary images, subject matters, storylines, styles, social relevance, and ideological guidance. This paper attempts to demonstrate the disciplinary features of mathematical science fiction, analyze the fun elements of Li's stories and summarize the main reasons for the excellence of his works, so as to present his works as a reference path and a quality model for the creation of mathematical popular science books of the new era.