In the Chinese subconscious, the universe exists on a timeline that extends into the future without end, and also without change.

In the century-long history of Chinese science fiction, apocalyptic themes were mostly absent. This was especially true in the period before the 1990s, when Chinese science fiction, isolated from the influence of the West, developed on its own.

Unexpectedly, 'Death's End' turned into a major success. It made a much bigger impact than the first two books in the series and became a bestseller.

In the early years after the Communist Revolution, politics and revolutionary fervor infused every aspect of daily life, and the very air one breathed seemed filled with propaganda for Communist ideals.

After the founding of the People's Republic in 1949, science fiction became a tool for popularizing scientific knowledge, and its main intended readers were children.

Like most genres of literary expression, science fiction in China was subject to instrumentalist impulses and had to serve practical goals.

Our reality is narrow, confined, and fleeting. Whatever we think is important right now, in our mundane lives, will no longer be important against a grander sense of time and space.

Sci-fi novels are concerned with problems faced by all of humanity. Crises in sci-fi mostly threaten humanity as a whole. This is a unique and treasurable trait inherent in the genre - that the human race is perceived as a single entity, undivided.

In my youth, when I tried to plan for the future, I had wished to be an engineer so I could get work with technology while writing sci-fi after hours. I figured that if I got lucky, I could then turn into a full-time writer.

The main difficulty is finding an idea that really excites me. We live in an age when miracles are no longer miracles, and science and the future are losing their sense of mystery. For science fiction, or at least the type of science fiction I write, this development is almost fatal, but I'm still giving it all I've got.