This line sums up every childhood passion. Comics and films became the fragments that shaped me, a rainbow bridge across my creative path — and I am still riding that current.这句话可以总结童年的所有爱好，漫画和电影成为塑造我童年的重要碎片，成为我创作路中的彩虹桥，现在我依然处于这股洪流中。

By 2014, a framework for product and content had begun to form. Ideas in my head turned into a pursuit of life’s meaning.在2014年，对于产品和内容框架逐渐形成，曾经在脑海里的想法开始转变为对人生价值的追求。

In 2010, self-media was both my window to the world and my laboratory. Driven by comics and film, the period was full of exploration — turning understanding into work that meant something.2010年，自媒体是我和外界交流的窗口，也是实验室。出于对漫画和电影的喜爱，这段时期充满了探索和学习，将我的理解转化为有意义的内容。

That chapter gave me real feedback, the hormonal rush of committing to a lifelong love. Most importantly, it locked my direction.这段经历让我收获了正反馈，是对于投身于毕生热爱的荷尔蒙时期，最重要的是它坚定了我的人生方向。

In 2014 I entered Tianjin Academy of Fine Arts — a collaborative campus and my first true studio environment. In teams, ideas landed better, business found new value, and energy compounded.2014年，我进入天津美术学院，这是一个充满合作氛围的学院，也是我第一次真正踏入协作式工作室环境。在团队中，创意更好落地，业务转化出不同的价值，收获了不同的能量。

Over four years, as designer and content operator, I worked on projects with Walt Disney, 20th Century Fox and others — learning teamwork, pacing, and creative iteration in depth.四年来，我作为设计师和内容运营参与了华特·迪士尼、二十世纪福克斯等电影公司的项目，对团队合作、节奏和创意迭代有了深入了解。

More importantly, watching one to two films a day became foundational fuel for how I later think about AI products.更重要的是，每天1-2部的阅片积累为我以后的AI产品思维提供了重要影响。

In 2017 I went to the University of Hertfordshire — a page that rewrote my career.2017年，我去到了英国赫特福德大学，翻开了我职业生涯中非同凡响的一页。

Across two years of practice I went deeper into every project — from design execution into product planning, brand, interface, UX, and the landing of future tech products.两年的实践，我在各个项目的参与程度也逐渐深入，从设计执行到产品规划、品牌、界面、用户体验以及我们未来科技产品的落地产生深远的影响。

It reshaped not only my portfolio, but how I collaborate: structure, adaptability, and long-termism.这段经历不仅影响了我的作品集，更塑造了我的沟通协作方式：结构化、适应性和长期主义。

In 2021 I joined Xinhua News Agency. The room was serious and professional, yet still creative and alive. News and communication moved faster; the industries I touched handed me a wider field of vision and energy.2021年，我加入了新华通讯社，这是国家通讯社，团队氛围严肃专业、也不乏创意和活力。这是我第一次真正踏入协作式环境，在这里，新闻和传播的迭代速度更快，接触的行业给我传递了前所未有的视野和能量。

Over four years I moved from editor to Creative Director, across interviews and product launches — learning teamwork, agile iteration, and the hard lines of safety end to end.四年来，我从编辑到创意总监，参与了各种各样的采访任务和产品落地，对团队合作、敏捷迭代和安全红线有了全方位的了解

In 2025 I joined Sinopec in Ningxia — a journey of uncommon weight. Inside a leading Chinese energy company, my role, perspective, industry reading, and professional standard all shifted.2025年，我加入了位于宁夏对中国石化，这开启了我职业生涯中非凡意义的旅途。这家中国头部的能源公司，对我的角色、视角、行业理解和职业标准都发生了积极的变化。

The experience rewired how I think in the AI era: humanism, first principles, and long-range futurism.这段经历重塑了我AI时代的思维方式：人本主义、第一性原理和长期未来主义。

My reading of AI comes from an obsession with literature —我对AI的解构来自于我对文学作品的痴迷，

from legends born of fear and wonder, to Horace Walpole’s gothic novel The Castle of Otranto; to Victor Hugo’s Notre-Dame de Paris under Romanticism; to Frankenstein and adventure-led speculative fiction; to Aldous Huxley’s Brave New World as a landmark of dystopian futures.恐惧与惊奇演化出的传说故事，启蒙运动后反理性主义标志性的霍勒斯·沃波尔（Horace Walpole）的哥特小说《奥特兰托堡》（The Castle of Otranto），浪漫主义运动下维克多·雨果（Victor Marie Hugo）的《巴黎圣母院》（Notre-Dame de Paris），同样也诞生了科学幻想小说《弗兰肯斯坦》（Frankenstein）以冒险为主导的科幻冒险与奇幻冒险题材小说，奥尔德斯·伦纳德·赫胥黎（Aldous Leonard Huxley）笔下的《美丽新世界》（Brave New World），描述未来社会构建的反乌托邦小说代表。

Trace the literary arc — adventure-led, science-led, sociology-led, New Wave speculation, then today’s hard SF, soft SF, space opera, cyberpunk — and every wave carries fantasies built on the tech of its time. Contemporary product forms inherit that lineage.追溯文学历史发展，在经历过以冒险主导，科学主导，社会学主导，以及新浪潮之下，科幻小说所发展的“思辨与幻想”，直到发展至今的主流风格所包含的“硬科幻”“软科幻”“太空歌剧”“赛博朋克”等题材。其发展规律背后都包含了基于当时科技的幻想与描述，而当今的产品形态，无一不受这些文学作品影响。

A non-native speaker reading Shakespeare aloud will not get a native experience; the same is true of Goethe in German.非英语母语者朗读莎士比亚，一定得不到像英语母语者那样的体验；非德语母语者也无法得到读歌德一样的体验。

Enlightenment-era literary DNA distilled into visual language, philosophical pressure, and social critique of technology — feeding Hollywood’s century-long grammar that made cinema a world tongue. AI product managers need that narrative mechanism: a universal language of story.启蒙运动时期诞生的众多文学元素提炼出丰富对视觉元素，内在哲学思索与对科技发展的社会反思，逐渐成为现代文化中的一大代表，也衍生出好莱坞工业发展与科幻电影视觉表现，好莱坞在过去 100年里创造的这套语言，已经非常有效地成为一种世界性的语言，让电影不在有地域和文化的限制，AI产品经理需要理解这些机制或逻辑叙事的必要性—：这是一套叙事的通用语。

A product is also a language — one people everywhere can read. That is astonishing.产品本身也是一种语言，世界各地的人都能理解这种易于理解的现代叙述语言。这是非常不可思议的。