Literary Master: Starting with Refusing to Be a Child Star

Chapter 156 New Project

The revised design sent back by the design team was stored in Luo Jinnian's project folder for a week.

He didn't rush things, spending a little time each day repeatedly reviewing the materials, comparing different sections to ensure that the rhythm and flow of the three experiences logically formed a complete tour sequence. Between the openness of the Martian surface and the enclosed feeling of the Earth's core, there is a gradually narrowing transition space, and the stargate passage is located precisely in the middle, serving as a support.

After confirming the completeness of the design proposal during an evaluation, he contacted the project manager of the design team and arranged a face-to-face meeting. The meeting took place in the BJ office of Early Spring Culture and lasted for nearly three hours, mainly focusing on confirming the details of the interactive process of the "Take Her Eyes" experience area.

Based on the revision feedback, the design team added a third option in addition to the two perspective switching nodes in the original plan, forming three experience paths for visitors to choose from.

At the meeting, Luo Jinnian confirmed the operation sequence and sensory feedback method of the new path one by one, and confirmed that two of them required modification of the information layout of the operation interface to reduce the reading burden of visitors.

On the return trip, Luo Jinnian noticed that after several rounds of communication and adjustments, the design team's draft zoning and circulation ideas had basically formed a framework that could be implemented.

The remaining work falls under the detailed design phase, including detailed construction drawings, equipment selection, and system integration solutions.

Lin Yiming also reported some progress related to overseas exchanges during this period. He mentioned that the award he received for "2001: A Space Odyssey" brought him more attention when contacting some overseas institutions and projects. He also mentioned that an international design company specializing in themed entertainment experiences expressed its intention to participate in the cooperation after learning about the park's plans.

After reading the email, Luo Jinnian replied, "We can stay in touch for now, and consider bringing in external collaborations once the local design team has completed the concept refinement."

He jotted down the details in his notes, then closed the window. His phone vibrated the instant he put it down. The screen displayed a message from Gu Yanxi—no text, just a photo. The photo was of the banyan tree in front of the school; its leaves shimmered a translucent green in the light, as if the composition had been deliberately manipulated. Luo Jinnian opened the photo, looked at it for a few seconds, and then replied, "The weather's nice today." Gu Yanxi replied with a period.

It was an unspoken understanding between them—no need for further explanation, no need to inquire about each other's current situation or intentions. The photograph itself contained all the information that needed to be conveyed. As for those still undecided ideas and plans, they were accumulating and taking shape at their own pace, without needing to be hastily connected. The process required sufficient time to complete, and time itself was also a design parameter, being incorporated into the planning of each path.

After the follow-up work on *2001: A Space Odyssey* was largely completed, Luo Jinnian had a period of downtime. During that time, he reviewed some publicly available materials on physics and celestial mechanics, read papers and popular science articles on time dilation, gravitational slingshot effects, and black hole models, and compiled relevant findings from recent years. While reading, he noticed a phenomenon: theoretical discussions about wormholes and time travel had gradually increased in recent years, and related research and discussions had begun to receive more attention, but there was still a lack of a film or television adaptation that could translate cutting-edge physics concepts into a narrative work that could be understood by the general public.

Over several weeks, he reviewed numerous related theoretical materials, ranging from the fundamental framework of general relativity to theoretical concepts of long-distance travel through spatial folding, from mathematical models of time dilation to conceptual deductions regarding the relationship between the event horizon and the observer. Some of these materials were ones he had encountered in his previous life, while others were rephrased in the language of this era. This repeated reading itself helped him define the boundaries of his current knowledge and calibrate the correspondence between his writings and reality.

Interstellar came to mind during this reading process.

The film from the previous life was released in 2014, directed by Christopher Nolan, with Kip Thorne serving as scientific advisor. Its uniqueness lies in constructing a logical system about traversing time and distance, using gravitational time dilation as the structural foundation of the entire story, rather than as an embellishment. This setting allowed him to build a logical system about traversing time and distance on a sufficiently solid scientific foundation. The difference in the flow of time on Earth and on a near-black hole planet becomes the core mechanism driving the plot, while also providing psychological support for the choices and consequences faced by the characters.

He began organizing the key points of adapting "Interstellar" on a weekend afternoon. The overall approach to the adaptation was to retain the core framework of the original setting, while making appropriate adjustments to some plot points and character relationships to better suit the viewing habits of domestic audiences.

In terms of the Earth setting, the background has been adjusted to a near-future scenario of continuous climate change and slow ecosystem decline. This setting serves as both the starting point for the story and provides logical support for the subsequent plot development. The professional background of the central character, Cooper, has been changed from an American pilot to a retired astronaut in the United States, a change that allows him to naturally participate in the subsequent exploration missions.

He outlined the main characters' backstories and their relationships. The relationship between Cooper and his daughter Murphy is the emotional anchor of the entire story; their trust and communication, transcending time and distance, is one of the driving forces behind the plot. From their separation on Earth to the spaceship's journey through the wormhole, to the relative time differences experienced while carrying out a mission on a planet near a black hole, and finally, the transdimensional information transmission completed inside the black hole—that time-traveling information transmission is the most crucial node in the entire story structure, and he will ensure that it retains its original power in the adaptation.

Regarding scientific advisors, he contacted Chen Yuanfan, a retired aerospace expert with whom he had previously exchanged ideas. In the email, he briefly explained the project's direction and attached a basic explanation of the relativistic time dilation effect. Chen Yuanfan confirmed the theoretical correctness of the effect in his reply, noting that "this level of theoretical framework is used in narratives..."

At this time, it is only necessary to ensure the logical consistency of the calculation formula; there is no need to show the audience the complete derivation process.

That weekend, Luo Jinnian completed a preliminary draft of the outline.

He wrote the project code name "Spacetime Gravity" on the first page of the document, then closed the document without expanding on it.

"The next movie project is already planned."