Here are some answers to a few questions that students have been curious about.

Q: What was your motivation for writing this book?

The author's original intention in writing this book was simple, to see if he could write a story with as few characters and as simple scenes as possible.

This has brought me a lot of trouble and created a lot of creative problems - this book can't have the plot elements that most online texts should have, there is no simple and clear main line, there are no villains and characters, it is difficult to construct plot conflicts and contradictions, the protagonists can only fight against the external environment, due to the limitations of characters and background, the plot is difficult to promote, and I won't do such a thankless thing in the future.

Q: Where did the inspiration for this book come from?

When the book was first written, readers mentioned "The Martian" more than once in the book review section - I have seen the "Martian" movie, but I have not read the original book for the time being.

The inspiration for this book was not "The Martian", although the background and technical details of the two books are somewhat similar, but rather an old joke that has been widely circulated on the Internet, "How would you react if you saw the Earth explode after landing on the moon?" ”

Yes, that is the root of all evil.

Q: Why did you design a character like Lao Mao, who is clearly out of touch with modern technology?

Because I like it.

I love cats, so I'll just write about a cat.

Q: How do you position this book?

One of the favorite things readers to do in the starting science fiction section is to debate the definition of hard science fiction versus soft science fiction, and some of the more extreme readers even think that hard science fiction can only be called hard science fiction if the technical background of the book is completely based on the existing or known theories of modern times.

I don't want to label what I write, the so-called hard sci-fi and soft sci-fi, the classification criteria are inherently vague, and the vast majority of works in the world fall somewhere in between.

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