I'm trapped in a block

Chapter 818 Shadow Play Theory

"Shadow Puppet Theory?"

These three simple words immediately caught Li Luo's attention.

Out of curiosity, Li Luo clicked on the title.

Shadow puppetry, also known as "shadow play" or "lantern shadow play", is a folk drama that uses silhouettes of characters made of animal skins or cardboard to perform stories. In modern times, many new types of interpretations have emerged.

During the performance, the artists manipulate the shadow figures behind a white curtain while telling stories with local popular tunes, accompanied by percussion and string instruments, which has a strong local flavor.

It is extremely popular, and due to the different vocal styles performed in different places, there are many different types of shadow play.

Before the invasion of the abyss, shadow puppetry was regarded as a cultural heritage and protected in many ways, but after the arrival of the abyss, it was lost on a large scale due to improper protection.

Although shadow puppetry has been taken seriously again after social stability, this form of drama has gradually faded from people's sight with the development of technology and shifting attention.

Li Luo had seen records of shadow puppetry in extracurricular history books, but the books only briefly mentioned it and did not provide an in-depth discussion of this traditional culture.

After the invasion of the abyss, people were talking about relics and the future, emerging technologies and cutting-edge applications. These historical cultures gradually retreated into the database and became data that no one cared about.

Entertainment, there are newer and more convenient ways of entertainment.

Inheritance, the abyss has been conquered, why are you still thinking about inheritance?

Art, in a society that focuses on practical application, no one will understand this simple art of light and shadow.

But why did the title "Shadow Puppet" appear when searching for Yongye? This was also the reason why Li Luo was curious.

"Yuan Kong, why do you want to block the light from the eternal night? Is it filtering?"

"No, it's because we have to block the light."

"Just like the curtain of a shadow play, only by blocking the light behind the curtain can the things you really want to express be shown."

The beginning of the article aroused Li Luo's curiosity, and she quickly read on...

"The function of the abyss is to filter out things that are meaningful to the abyss. This is what people have always believed, and many studies have also proved this. But why is 'light' filtered out?"

"Light is a very important thing. Above the fourth layer of the abyss, including the Earth, the energy of all life comes from the sun. Sunlight is the source of energy for the entire world. With light, everything on Earth exists."

"Such an important thing was filtered out when it reached the Abyss. Is it because light has no meaning to the Abyss?" "Of course not. It is because light above the Abyss is more meaningful than entering below the Abyss. The Abyss needs to control the light above the Abyss and use the shadows created by these lights to fill the chaos below the Abyss."

"If a world is filled with 'meaningful' things, it cannot be a world. Just like a game map, if there are only the main storyline and NPCs, it cannot constitute the game. It also needs some 'meaningless' embellishments and fillers, and some data redundancy."

"These redundancies are the key to preventing the world from collapsing. If 'plants and trees' are meaningful, and 'soil' is meaningless, Yuan Kong only chooses meaningful 'plants and trees' to form the world, then the world he forms will be scattered and disordered, just like rootless duckweed."

"At this time, we need to let the meaningless 'mud' come into this world as well, so that it can serve as a support for the 'plants' and stabilize the existence of these 'plants'. However, this brings up a new problem. Now that the 'mud' has come, should the 'sand and gravel' also be put in?"

"The grass and trees rely on the soil, the soil is mixed with sand and gravel, the sand and gravel are broken into dust, the dust floats into the air, the air carries various gases, and these gases participate in various chemical reactions. In meaningless corners, they fill up the memory of the 'game' and affect the normal operation of the abyss."

"Everything in the world is connected, and it is impossible to completely distinguish the meaningful parts from the meaningless parts. If you force stability, the screening of the Abyss will be useless, and everything will be allowed in, allowing meaningless things to fill this world with richness and color. At this time, it will be no different from the world above the Abyss."

"If we don't let these meaningless things in, the world will collapse. If we let them in, the Abyss will become invalid and the screening will fail. This is the problem the Abyss is facing."

"In order to solve this problem, the Abyss can only give up bringing the important 'light' to the bottom of the Abyss Hole, and let the 'light' stay above the Abyss Hole to play a more important role."

"This function is - projection."

"All those meaningless things are above the Abyss. We just need to let them be reflected on the curtain under the effect of light, and then transmit the content on the curtain to below the Abyss."

“In this way, whether it is ‘grass and trees’, ‘mud’, ‘sand and gravel’, or any other random things, after passing through the curtain, they will all become the same thing - an image.”

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"Things that don't participate in normal interactions can all be made into textures, such as the unclimbable mountains in the distance, the birds flying in the night sky, the occasional passing lizard, the huge rift valley that makes people want to stay away from them... These things don't even need to be added with a 'collision model'. You can just play a moving or still image and it will be done. No one will care anyway."

"It's meaningless, there's no interaction, and of course no one will go wrong. No one will actually run to the curtain and touch those puppets that don't exist at all."

"In this way, the light was blocked above the abyss hole and became the source of projection. The abyss hole then used the light to project the image that it wanted to form the world below the abyss hole, and used these meaningless things to piece together a simple world."

"It's pitch black anyway, and no one will look closely at the details of the images."

"Because only a simple image is needed, the projection is also very casual. If you want to project a mountain, you can use a mountain above the abyss to project it, or you can just find a small stone and project a huge mountain under the magnifying effect of light and shadow."

"Or we can find the corpse of a giant creature and project it into the distance as an unreachable mountain. This mountain looks hideous and terrifying, and is more realistic than a projection of a real mountain."

"Projection has a high degree of freedom and can solve most of the problems in the world's composition, but there is still a problem that cannot be circumvented—"

“The connection between meaningful things and meaningless things.”

(End of this chapter)