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to be seen

Image of SCP-CN-1537

Special Containment Procedures: SCP-CN-1537 is currently contained in Anomalous Item Storage Room 11 at Site-CN-09, and any application for use of SCP-CN-1537 must be approved by the project leader, Dr Pablo.

SCP-CN-1537-1 produced by using SCP-CN-1537 must be inspected by relevant Foundation personnel first, and if there is no abnormality or risk, it can be handed over to the applicant for safekeeping. The rest are arranged in place of preservation according to their nature.

Experiment requests for SCP-CN-1537 are approved by the project leader.

**Description: **SCP-CN-1537 appears to be a black notebook with the SCP Foundation logo printed on its surface1.

When any person writes text on SCP-CN-1537, the handwriting will disappear after 3~5 seconds, and within a certain range2 creates an SCP-CN-1537-1 entity that will possess the properties of the corresponding entity in the lower narrative. If the item is known to be absent from the lower narrative, the writing "404" will appear on the surface of SCP-CN-1537
When SCP-CN-1537-1 manifests, records of the underlying narrative about it will disappear.

When the words "Return" are written on the surface of SCP-CN-1537, the most recent SCP-CN-1537-1 will disappear, and its record will reappear in the underlying narrative.

If SCP-CN-1537 does not respond when written in non-Chinese language on the surface, the writing will remain.

Included page "theme:pataphysics" does not exist (create it now)

to be seen

Image of SCP-CN-1537

Special Containment Procedures: SCP-CN-1537 is currently contained in Anomalous Item Storage Room 11 at Site-CN-09, and any application for use of SCP-CN-1537 must be approved by the project leader, Dr Pablo.

SCP-CN-1537-1 produced by using SCP-CN-1537 must be inspected by relevant Foundation personnel first, and if there is no abnormality or risk, it can be handed over to the applicant for safekeeping. The rest are arranged in place of preservation according to their nature.

Experiment requests for SCP-CN-1537 are approved by the project leader.

After the Incident (CN-1537-Q), SCP-CN-1537 was neutralized and the above containment measures were voided.

SCP-CN-1537 has been approved for custody by Dr pablo.

**Description: **SCP-CN-1537 appears to be a black notebook with the SCP Foundation logo printed on its surface4.

When any person writes text on SCP-CN-1537, the handwriting will disappear after 3~5 seconds, and within a certain range5 creates an SCP-CN-1537-1 entity that will possess the properties of the corresponding entity in the lower narrative. If the item is known to be absent from the lower narrative, the writing "404" will appear on the surface of SCP-CN-1537
When SCP-CN-1537-1 manifests, records of the underlying narrative about it will disappear.

When the words "Return" are written on the surface of SCP-CN-1537, the most recent SCP-CN-1537-1 will disappear, and its record will reappear in the underlying narrative.

If SCP-CN-1537 does not respond when written in non-Chinese language on the surface, the writing will remain.

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**On November ██, 2020, the following font appeared on the surface of SCP-CN-1537, after which SCP-CN-1537 was neutralized. **

Maybe you're right, I should face it.
Your world is dangerous and exciting. My world is flat and warm.
Live well and tell this legend for me.

—(account deleted)

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Title: Introduction to Narrative Anomalies
Author: Felter Finalis
Date: December 17, 2020

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When Art meets Containment

Introduction to Narrative Anomalies and their management by the Foundation

I fought Don Quixote for two years. That's something that makes the eyes of neophytes shine.

This one was responsible for one of the first major anomalous metanarrative crises the Foundation had to deal with, and that only in 2007. It was on SCP-4028 that I got the hand within the department. Finally, all that to say that Don Quixote taught me an essential lesson for my work. That's a funny phrase, isn't it? You will understand why I love my job.

//I will surely spoil the reading of the report for those who have not read it — yes, I sometimes read reports like one reads a novel — but we have never succeeded in confining Don Quixote. For almost three years, we fought to cover the damage, until the point where I no longer accepted the new confinement proposals, waiting for my dismissal notice, resigned and tired. //

//Until the day SCP-4028 neutralized itself. His story just ended, sort of. This important lesson that I have kept as a mantra is that the anomalies in my charge are narratives. They obey precise codes, within the reach of any literary student, and it is on this reflection that I have developed my containment procedures during my career. //

Here, I will speak to you about narrative anomalies exclusively, and we will ignore several concepts such as those developed by the Dr Swann in 1991, or the research work carried out by the Director Panagiotopolous, since that's not the point. We'll talk a bit about my department and the methods it has developed to contain narrative anomalies. Believe me, there will be surprises, and you will have a more complete vision of our methods and the types of anomalies concerned.

— Dr Pierre Ménard, Director of Research, Department of Pataphysics (Francophone Referent)

Table of Contents

  • **Origin of Narrative Anomalies
    • Definition
    • Narration and You: Birth of the Noosphere
    • The Cliché and/is the Standard
  • Types of Narrative Anomalies
    • Narrative Anomalies and Narrative Anomalies: quick history and nuances
    • Narrative Style Anomalies: Queneau Class
    • Conscious Narrative Anomalies: Cervantes Class
    • Narrative Reality Bending Anomalies: Navidson Class
  • Containment methods and strategies
    • First Contact and Recovery
    • Queneau Class: a Book without a Reader is a Dead Book
    • Cervantes Class: Stylistic Incarcerations
    • Navidson class: Final Cut
  • Special cases
    • Hazred Class: Narration as Passage
    • Narrative Thaumiels
    • The Language Office: What about translation?
  • Conclusion: the story continues **

rating: 0+x


Some people say that the foundation is a testing ground for avant-garde literature. It uses various narrative techniques and code effects to create narratives that make the narrative more eye-catching. One of these forms is the works of metaphysics. However, at present, the foundation's settings for metaphysics are mostly based on intuitive experience, and the methods are mostly limited to directly claiming something in reality to be another thing in the lower narrative, and some even just stop at stacking up nouns. level, it has to make people feel less interesting. In any case, the metaphysics in the Foundation should not stop at "utopian science", nor should it be a cheap buzzword only used to improve the b-rank, and its internals are always organized.

I would like to warn everyone who wants to write articles related to metaphysics, if you want to set up a new theory13, it is best to first consider in your setting, what is the origin, operation mechanism, and existing form of the narrative, where does the narrative exist, etc., so as to avoid thinking carefully or follow-up confusion [[footnote] ]]

Just like if you want to set up a metaphysical theory for the scenario of "the author of a web article died before it was finished, and then it was rewritten by someone", then the problem arises:

Is the story written by the author the same story written by someone else? What about other people? The authorized adaptation is rotten and the reader does not recognize it. How to count it? Why did their rewritten stories cause narrative shifts? Why do fictional characters perceive narrative shifts? ……

What this essentially asks is where the narrative world is, how it arises and continues, what are these criteria, and so on. If these problems are not addressed, the theory to be written will inevitably fall into the situation of "first draw two circles, add some details, and the owl is ready" - which is equivalent to saying nothing. Of course, these can all be pushed to "blank", but it is not enough to write as a theory.

[[/footnote]], or simply corresponding to the reality and easy to appear boring14. Therefore, the author will combine the narratology,, Narratology,, theory in reality, and briefly collect some of the author's settings, and then introduce the concepts involved in metaphysics in detail according to my personal understanding, in order to Provide others with a self-consistent and more complete system of reference.

Pataphysical Concept Map: Framing and Metanarrative 15

PS.1, There is no setting hereThere is no canon (there is no canon,) is a relatively important concept in the creation of the Foundation (although some people think it is a little stupid), its original meaning should be : All creations and all settings should serve and adapt to their own stories, and do not have to strictly follow a certain setting.

Therefore, when writing articles related to metaphysics, there is no need to find any theories and settings, and it is easy to create. Moreover, due to limited knowledge, this article contains many errors and is for reference only, but at least it is more reliable than Baidu Encyclopedia-. If you have any questions, please do not hesitate to let me know, or write an errata or a concise version.

PS.2: The real names mentioned in this article are written in Chinese characters; the names of the characters in the story are added with hyperlinks; if it is a user name, the English format is reserved.

PS.3: In order to avoid spoilers, the item number will not be written directly in the text.

basic concepts


To understand what metaphysics is, you need to first understand the concept of metameta. Yuan, also translated as "post-set", is a Greek root, meaning "later" and "behind"18. When the root is combined with other nouns to form a new word, the new word can be understood as "what is behind what", "what about what"19. The articles related to metaphysics in the Foundation are, to a certain extent, meta-fictionmeta-fiction, that is, "novels about novels", because the characters or plots of the text reveal that they are in a The stories (characters) within the created stories.

The following (derived) concepts are covered in this article:

  • Meta-narrative:,meta-narrative is a narrative about narrative, focusing on action; that is, a real author takes the initiative to expose his creation as a fictional narrative technique in the process of writing.


  • Meta-narration:meta-narration is the narration in the meta-narration, the narration in the inner narrative, see the following "narrative layer" and "meta-narration Narrative]” section.


  • meta-fiction:meta-fiction is similar to meta-narrative. However, in this article, most of the emphasis is on the fictional nature of the narrative framework, and it also specifically refers to: "(using) the method of meta-narrative (performance)".


  • meta-consciousness:meta-sensiblity is the consciousness that the subject of human nature is in a certain level of control, and there are elements that violate the frame, which mostly appear in postmodern thought. The meta-fictional consciousness of this paper is the layered cognition of the world and the unreal feeling of being within the control of a certain fictional framework.


  • Meta-fictional character:meta-fictional character: This article specifically refers to characters who have meta-fictional awareness and think they are in a "narrative world".


  • frame-disturning:frame-disturning is to tease the boundaries of cognitive structures such as conventional frames, restrictive rules, etc., or to break through the field of the original concept, etc.20.

Note that due to the concept of "meta", to some extent, there will be attributes that violate the box, so the "meta" as a tag in the foundation, which means the following:

The anomaly affects or is affected by its documentation, or its containment procedures are related to the way it is recorded.

That is to say, in the world view (lower narrative), the archives have to violate the conventional format for some reasons to be recorded. For example A certain bread maker must be written in the first person. Obviously this has nothing to do with metaphysics. In order to distinguish it from the concept of "meta" in meta-narratives, in this article, we call this kind of situation the meta effect, and the expression technique that produces this effect is called the meta technique.

By the way, in some articles related to metaphysics, meta-methods will be used to break the frame, for example, in a bunch of clinical cavities, there will be a lot of thoughts left for real readers, so as to reveal their own meta-fictional attributes. . Having said that, this does not mean that the concepts of "meta" in representational techniques and "meta" in narrative techniques are exactly the same.


Pataphysics, whose name comes from the theory that exists in reality Absurd Metaphysics'Pataphysics, can be regarded as a narrative technique. The main definition in Wikipedia is:

'Pataphysics is a philosophy proposed by Alfred JarryAlfred Jarry dedicated to the study of outside the metaphysical realm .21, this philosophy is an imitation of modern scientific theoretical methods, usually expressed in absurd language22. Jarry also describes it as "the solution of the imagination, symbolically regarded as its typical character, as the source of the properties (virtual descriptions) of things".

The concepts involved in this article are biased towards another definition mentioned in Wikipedia:

The virtual or imagined origin of things that can be glimpsed through the heights of poetry, science, and love. It can be grasped as real life.

And, in the Foundation, it usually refers to a metafictional character, a term for research into the elements of anomalous narratives. It is essentially a fictional metaphysics based on the principles of narratology,, Narratology,,23, is a supernatural narratology. It regards the factors involved in narrative, such as author, reader, story character, narrative angle/narrator, creation technique, creation tool, creation steps, etc., as part of the real thing in metafiction. And these real things can be influenced by meta-fictional characters in the narrative, thereby affecting the subsequent performance of the narrative.

In short, __metaphysics is a fictional metaphysical concept that supernaturalizes and materializes narrative elements based on narratology. At this time, the characters of the novel realize that they are in the novel, and try to analyze and influence the elements that constitute the ontology novel and the mechanism of the operation of the novel, and then come to this knowledge.

In the stories related to the Foundation's metaphysics, the meta-narrative approach is usually used to deduce fiction and "reality"24” conflict, sometimes with a strong sense of absurdity or fear of existence itself.

murphy-law caseThe meta-fictional character of "Yue Ran on Paper" 25

When doing related creations, write the following routines26, meta expressions are often used:

  • **Transfiguration: **The ontology of something in the upper narrative is connected with the ontology of something in the lower narrative, and a new image is given to it in a new context, see below for details.


  • ** Cross-layer: ** That is, the meta-fictional characters cross the narrative layer and do something like "killing the author" to change the entire "narrative direction".


  • Complaint, that is, the character goes beyond the figurative/metonymous/transfigurative suggestion, directly (to the reader) expresses his own metafictional attributes, and declares something in reality as anomalous (for example, calling "/scpsandboxwiki.wikidot.com/ Sandbox No. 1" is the place where the upper narrative is simulated and the source of all chaos), or say that something of your own corresponds to something in the upper narrative27.

Obviously, if these three types of writing are not good, they will inevitably talk about things that everyone knows in a more convoluted way, and even make the narrative of the article look like inventing the wheel, or like a language teacher. Talking about how to write an essay is the same as how to "narrate", or come up with some empty combat power that is narrated every second. Later on, we will talk about the origin of these routines.


metaphorpataphor is a narrative technique, which is very common in the creation of the Foundation's metaphysics. It can be understood as a metaphor of metaphor, a fiction based on fiction, and a metaphor that is extended twice. metaphorical Gestalt expansion, which uses a newly created metaphorical similarity as a basis for its own reality. If a simile is a symbolic inductive connection of the empirical world, let A ∽ B, then a metaphor implies that A=B, “imposes” the property on the other party, and blurs the difference between the two, thus implying that the two have similar properties. [footnote]]
Metaphor, there are ways of revealing the ontology to emphasize the identity of the two, and there are ways of concealing the ontology and using hints to leave room for readers to think.

[[/footnote]]; and super metaphor, which is to surreal magically change the elements of A into B, obscuring the direct connection between A and B, making it impossible to see a metaphor, making B appear to be independent , but it is indeed a further fiction based on the original fiction, and thus a new context. In short, transfiguration is the extension of a metaphor, in which a new plot is formed and supplemented by the preceding and following content.

At this time, the ontology is obscured in the différance of meaning, and the original meaning is hidden in the image symbols, leaving only the metaphor that becomes the new ontology; the new ontology is perfected in the new context , whose image is complemented. And if transfiguration is used to explain transfiguration, it is: "This happens when the lizard's tail grows so long that it breaks, and when the when a new lizard grows in its tail.”

Having said that, it doesn't have to be too rigid. In practical applications, this is often the case: that is to replace the existing mechanism or thing with a defamiliarizationdefamiliarization28”, and then re-interpreted, and then stacked the newly generated image29 As the real "parametaphysical equivalent" in the lower narrative. In the end, it's easy to slip into the "complaint" genre as written.

PS: Transfiguration and further metonymymetalepsis30 The difference is that although further metonymy will firstly meet metaphor and then second-degree metonymy, transfiguration goes one step further, extending the second-degree metonymy of metaphor to Gestalt, from Rhetoric becomes narrative.

across layers

For details, see the sections "Narrative Layer and Narrative Domain" and "Cross-layer".


It is obvious that such techniques are so well understood that they are not worth mentioning.

narrative (narrative)

In reality, the narratologist Mr. Zhao Yiheng will "narrate"31 This concept is briefly explained as:

The subject of a narrative subject32, bring people33Put things and things into a symbol34 is composed of text, allowing the receiving subject35 These events involving characters can be understood as texts with inner time and meaning dimension.

From the perspective of readers, narrative is equivalent to a meaningful story, including all kinds of novels, animation, information content, all literary works, etc.; and from the perspective of meta-fictional characters, narrative is its Dasein, Dasein, ,, which is equivalent to the existing narrative worldnarrative world—narrative__36. The rationality of this "narrative" depends on the proof of Other,, the Other of PresenceAnwesen,,.

Meta-fictional characters who recognize themselves as merely existing and seemingly active in Word of God,,37, it is constrained by the meaning of the symbolic text and affected by the understanding of the receiving subject.38. In layman's terms, the character knows that the world is a story that exists in the narrative, and the rationality and logic of the story are all conveyed by the storyteller's symbolic information, as well as the storyteller's cognition [[ footnote]] Although the sender can also be a character in the novel, the ultimate recipient must be the real reader. Influenced by [[/footnote]], its own initiative is also due to the progress of the narrative. And using the word "narrative" to refer to the world in the story further suggests that the concept is metafictional.

In an item, meta-fictional characters find that there is a narrative gap in their own narrative39, the narrative void creates the absence of part of the narrative world. In order to fill in the missing "details" and to perpetuate characters that are not in the focus of the narrative, metafictional characters are in the text, telling the reader directly that they want them to think they exist.

It can be seen from the above that in narrative settings, there are often high-level and low-level oppositions. In it, the meta-fictional character must assume the presence of an other to show that the world is not the delusion of the meta-fictional character's own consciousness-only,, vijnanamatra,, or the natural transformation of heaven and earth; and then trace the origin of the world. To test the "principal", compare the image of the other to the author, the reader and other relevant persons, so as to distinguish the "narrative world" from Brahma's dream, the brain in a vat, computer programs and many other fictional world conjectures - otherwise the author It is completely possible to create without the concept of "narrative", and meta-fictional characters can also use the word "high-dimensional" to refer to a "world" that is higher than the "world" in which they live40.

Of course, the above is a low-to-high perspective to explain the narrative world. Correspondingly, there are also high-to-low viewing angles. Meta-fictional characters discover that their narratives can be extended to multiple layers of narratives, that is, they discover that stories can be nested in stories, and that the characters in the stories have meta-fictional attributes, or simply discover that the narrative world in the stories is real, And then deduce its own meta-fictional properties, just like finding a foundation that can be called narrative base. The other at this time is hidden.

And, the concept of narrative world is different from the general concept of "world". The difference is that the whole world within a narrative can include, according to the author's settings, from a certain area to the multiverse and even Almighty UniverseOmniverse scale range. In layman's terms, because the narrative layer It means the distinction between novels and "reality", then a "novel world" under the narrative layer naturally contains all the settings of the "novel", that is, the narrative layer covers the overall cosmology and settings. It can also be thought of this way, a narrative covers the setting of a story, and the cosmology of the story setting determines the size of the narrative world41.

Narrative Cause and Meaning Movement

narrative cause

narrative causesnarremes, that is, the basic unit of narrative, representing a small information segment of a thing, similar to memes representing the basic information unit of culture. Veleafer believes that narration is not subjective and contains infinite information, but objects will enter their own narrative worlds due to their respective understanding deviations. He also gave a example to illustrate this: there is an apple here, you think it is an apple, others think it is a bomb, and infinite understandings of the same thing will produce different narrative worlds.

In fact, this statement is more or less close to the concept of "symbol"semiosis in SemioticsSemiotics. The concept of "symbol" has always been divided into different opinions. This article adopts Mr. Zhao's statement: "Symbol is a perception that carries meaning", or it is more complicated: "Symbol is the sender's use of a perceptible substance to stimulate42, so that the receiver43 can conventionally understand that something is not present or absent some situation of something". For further understanding, this article has made a picture here.

Click image to enlarge

As shown in the figure, the sender44The information can be understood as a symbol rule according to a certain code45 to encode it as a symbol, and then use the signifiersignifiant46, through the media, the things reflected in the language of its meaningsignifié47The concept is sent to the recipient, and after the recipient receives it, it compares accompanying textco-text48 and the experience reference symbol49, to obtain similar cognition, and after decoding the information according to the similar cognition, generate new cognition (symbol), this process can also be called "symbolic movement", or "extranarrative meaning movement" ". At this time, the narrative cause (symbol) is equivalent to a meaning polymer, which is mixed with plural meanings MonadMonad50. However, as the encoding form of meaning, symbols cannot perfectly transmit their own kernels when transcribing and decoding into new symbols, and will always occur under various factors differentiationla différance51, the meaning overflows, and then gradually breaks and dissolves in the process of infinite transcription52. Infinite différance and deviation of understanding, resulting in the difference of cognition and subsequent interpretation of the same narrative, is probably where Veleafer's theory53.

It is worth mentioning that SpiritualitySpirit54 The communicator or the recipient of the message does not have to be real in the movement of meaning. The sign (temporarily) not received by the receiver is called zerosignzerosign, and the understanding of its meaning is delayed55; There is no message sent by the communicator, and the symbol that is understood as a symbol by the receiver is called a "non-originating symbol", and sometimes people assume that there is a sending subject in order to make it reasonable [[ footnote]] Just as metafictional characters can argue that they are in a narrative, they need to assume that there is an "upper narrator" on them. [[/footnote]]. But in the Foundation, a narrative must have an originator and a receiver, and even if the originator is assumed or the receiver is self-reference,, self-reference,,, there must always be an other.

In addition, if you say telepathy or Gestalt or something to transmit narrative… I don't know these principles, so I can't imagine what form the symbols will be in. Maybe I can use it as an idea to get a new system's metaphysics setting. But here, the movement of meaning still exists.

Semantic square matrix

Semantic Square Diagram

semantic squaresemiotic square, also known as "symbolic matrix", is a theory about narrative structure proposed by linguist Gremas56. As shown in the figure, it can be imagined as a rectangle. There are four vertices on the rectangle, which are turned from left to right and named A B -A -B respectively, representing the four types of positive~inverse~non-positive~non-inverse Narrative State and Six Logical Links Between Pairs57, and finally constitute ten meaning movement situations.

The logical connection at this time can be seen as a movement trend, which is also between two states, representing the transition of narrative from one state to another. Also, using Mr. Zhao's statement here, the six links are regarded as negative links, which represent the negation of its previous state to promote the narrative. An example of a semantic square matrix:

Story Trend Gambler's Situation
Old Gambler Gambling with energy all day long
But today was seriously ill Zheng "non-zheng Negates its ideal state of existence, and turns to a state of survival
It has not been healed for a long time, probably the time is short Not right Not born. It gradually drifts away from life, but it has not reached the level of death, and it continues to exist
In a serious illness, he saw the god of death coming Injustice » Reverse Negates his state of existence and turns to a state of death
Death will take it away Reverse Reach the state of death
Before he left, he proposed to gamble with the god of death, and the god of death agreed Reverse » Non-reverse Negated the state of death and turned to a state of half-dead
He was temporarily dismissed, and played several rounds of cards with him Non-reverse The status of life has been denied, but it is not death. In other words, it is dying but not completely dead, although it has entered the realm of death itself, but is refused to fully enter this state
As a result, the gambler wins Non-reverse » Positive Negates its non-dead state and turns to life
Death had no choice but to let him return to the world It came back to life from the half-dead state

These negation chains can be freely linked and repeated within the rectangle, for example:

Story Trend Situation
The old gambler gambles energetically all day long
Until one day he got too excited and suddenly had a brain hemorrhage Positive "Inverse Negative
Death is coming Reverse Death
He gambled with death Reverse » Non-reverse Negation
The God of Death will not accept him for the time being Non-reverse Non-death
And he just wants to play cards, and he doesn't want to die or be reborn FOR 》 FALSE Negative
But he won a lot of games, he might win and be reborn Incorrect Incorrect
The god of death is always furious if he doesn't win a card, and he doesn't take him away if he doesn't play any more games False 》 Positive Negative
In the end, he was rejected by the god of death and wandered in the world forever with the curse of immortality Zheng undead

Of course, the semantic square can also expand the traditional perspective of binary opposition, for example, a simplification of the camps involved in most novels58Examples59:

Traditional binary opposition: good - evil60
Positive: the protagonist of justice Both good and evil: **will jump at any time, or be neutral in chaos Evil: evil villain
**The righteousness of the non-evil: **Potential helpers of the protagonist group with a "sense of justice" Good or evil. [[/footnote]]: **may change for some reason61 **Not good and evil: **The villain with a "sense of evil" potential helper
Non-Evil: Law-abiding petty citizens62 Neither Righteous nor Evil**: Pure passers-by who don’t care

The formation of the narrative world within the worldview

Note: The construction here is based on the author's very subjective personal thoughts. It is expanded for the sake of logical self-consistency to answer the ontological question of the system, and there is not much reference value. If you want to see more general metaphysical terms and concepts, you can skip this section.

In short, language is the foundation of narrative, and narrative survives in the movement of meaning. The narrative world is anchored by symbols and manifested in the absolute spirit of narrative.

Narrative layer and narrative domain

narrative layer

The narrative layer in the foundation is the layering of "story within stories", which can be subdivided and nested infinitely. Each layer of narrative is the premise of the next layer of narrative. Also, a narrative layer can contain multiple narratives in parallel or downward.

In reality, the concept of narrative levelsnarrative levels was first proposed by the French structuralist critic GenetteGenette. He believes that "any event that a narrative tells is in a story layer, and the next layer of the story in which the narrative action that produces the narrative is located." diegesis}} and narrative layerdiegesis81, and the narrative layer can be further divided into inner narrative (inner narrative)intra-diegesis and {{meta narrative (post narrative)meta-diegesis,,} }. It can be roughly understood as:


Legend has it that in Arabia, a woman told stories to the king every day in order to avoid being killed. On the night of the full moon, I told this story:

A long, long time ago, there was a prince in Persia who liked to disguise himself to the streets to hear the stories of the book man… When he heard the book man said: "[story]", he was shocked.

【Stories narrated by storytellers】

The structure of which is:


**Supernarrative: **Where the narration takes place, the "author"82 at the level.

**Inner Narrative: **The narrative of the narration, the level of the characters, and the main place where the story takes place.

**Meta-narrative (post-narrative): A secondary narrative occurs within a **narrative, and the secondary narrative narrates a deeper narrative, a story within a story.

Then, Mr. Zhao further put forward the concept of narrative level: "The task of the high narrative level is to provide the narrator for the lower level… The high level provides the lower level with the specific background of the narrative behavior." Obviously, according to its The concept of narrative layer can be simply understood as: upper narrative - narrator "narrative - narrator within the narrative" subordinate narrative - subordinate narrator" …, which better reflects The narrative layer can be infinitely subdivided andNested nature.

There is a clear sequential relationship between the narrative levels. However, in reality, the next layer of narrative in the narrative not only extends downward, but also overlaps horizontally. The reason for the generation of horizontally iterative narration is that "because the narration behavior always occurs after the narrated event, the higher the narration level, the later the time, because the high level provides the specific background of the narration behavior for the lower level". For example, the news you tell others has already happened before your narration. Although this news narration is within your narration, its prototype narration is not uttered by you. Therefore, Mr. Zhao translated meta-narrativemeta-diegesis as "upper narrative", that is, the previous narrative level, whose original intention is to point out the sequence of narratives83, which is different from the description of possessions that the Foundation focuses on.

But in this way, it is easy to confuse the upper and lower structure and horizontal structure of the narrative in this article. Therefore, this article does not refer to the horizontally stacked narrative layer as narrative layer, but incorporates it into narrative domain84, the term sequential narration is used to indicate the horizontal iteration of narrative within the narrative layer85;Use the upper and lower narrative86 indicates the vertical structure of the narrative layer; the words superior narrativehyperdiegetic and subordinate narrativehypodiegetic are used to indicate the sequence or sequence of narrative. Dependency87, collectively referred to as the horizontal and vertical progress of the narrative layer88.

In the Foundation, horizontal and vertical narratives can barely be expressed as follows:

The eldest told the eldest that the eldest told a story89, the story tells:

The third child told the second child that the elder brother told a story90, the story tells:

The eldest told the eldest that the eldest told a story91, the story tells:

The eldest told the eldest that the eldest told a story92, the story tells:

It can be seen from the above that multiple narrations can be nested in the narrative, that is, "the story in the story" and "the characters in the story tell a story", and then the narrative layer is formed. Starting from a certain narrative layer, multiple narratives are continuously nested downward to form a cascading structure or a tree-shaped narrative iteration structure, which is unnecessary to discuss here.

For ease of understanding, this article will refer to the original narrative as the archetypal narrative, representing the original initiation of the narrative being paraphrased93. The paraphrase narrative is independent of the archetypal narrative, and can even be different from the archetypal narrative due to the factors of the paraphrase. However, whether it is an ideal narrative that is completely consistent with the archetypal narrative, or a heterogeneous narrative that is offset in the transmission, they all belong to the lower narrative94, which comes from the "interpretation" of the archetypal narrative by the narrators at the same level, are all related to the archetypal narrative. To represent this connection, we refer here to Veleafer's notion of narrative domain, but with a twist.

narrative domain

In this article, narrative domain refers to the encompassing range of a narrative contained in the narrative layer. This term is intended to emphasize that the narrative scope of this narrative and the narrative scope of other narratives at the same level95 There is an intersection, and there is a certain relationship between this narrative and that narrative.

Intersection between narratives on the same level

Conclusion between narratives on the same level

To illustrate with the example given by Veleafer:

For example, as we can see in this picture, the circle representing "The Lord of the Rings" is in contact with the circle representing "The Hobbit", and some of them overlap, because the plots of the two are partially related, which constitutes the basic Middle-earth worldview. This happens in a narrative layer.

These two examples are under the same worldview, which is equivalent to a large narrative domain (worldview) containing two small narrative domains (works). In addition to the narratives of these two works, there are also independent works, which are also equivalent to other small narrative domains being included in the large narrative domain. Then there is a narrative layer between this large narrative domain and Tolkien. The narrative layer is absolute, just as Tolkien and Cao Xueqin are in the same "narrative layer", and they are both narrators; their stories are also in the next narrative layer, just whether the narrative domains of the lower narrative intersect.


Comprehensive diagram of narrative structure

The narrative layer can be stacked horizontally and extended vertically. If a single narrative at a certain level (marked as A) is taken out, and the lower-level narratives extended from it are arranged, a similar lower triangle can be listed on the plane. The endless narrative layer structure of the Matrix. Then, each sub-narrative in the matrix is ​​cross-linked to the lower-level sub-narratives under the narrative domain B of the same layer of A, and then a new sub-narrative is obtained. The flocculent structure obtained by infinitely cross-linking the narrative of a narrative layer and its sub-narratives can be regarded as an interwoven echelon on the plane after synthesizing all of them. This echelon can be called narrative stacknarrative Stack/Echelon.

In the echelon, the universe96The view is backward compatible, the universe view of the entire echelon should be determined by the original narrative layer97. However, in most Foundation settings, the cosmology can also be stacked upward, that is, the upper limit of the entire echelon is the upper limit set by a narrative layer within the echelon98.

Moreover, the vertically stacked narrative layers are not much different from the so-called "one flower, one world". The expression of both is "nested".

Metanarratives and the Fourth Wall

meta narrationmeta narration is a narration about a narrative. This sounds convoluted and indescribable. In order to further explain this concept, Mr. Zhao summed up its five forms of expression. In the foundation, the first four categories are common. Here is the introduction:

  • ** Exposure: ** The process of constructing a narrative text is revealed by itself. That is, the work reveals to the reader that it is a work, or that the narrative itself is narrating, in short, that it is a fiction. This is the most common and most basic type. In this article, such works are specifically referred to as metafictionworks, and those characters who know they are in the narrative are metafictional characters because they self-identify themselves as having metafictional properties. This is the case with stories about the Department of Pataphysics99.


  • **Multi-layer linkage: **That is, the control between the narrative exposure levels. Just like gambling, which is essentially a football game, the gambling game based on the football game is a game on the game, and sometimes it also controls the football game under the game. In the Foundation, it is usually a self-begettingself-begetting narrative like "the story of your life". Among them, the narrator is narrating his own story, and he himself participates in the narration within the narration, and the narration within the narration also interacts with the narration outside the narration.


  • **Multiple narratives in one: **A narrative text with multiple narratives unfolds, mainly in that the reader can choose one of the directions for the author. For example, some articles with the "interactivity" tag in the foundation require readers to select and link with the narrative framework in order to continue until a narrative is completed and the reader participates in the narrative. A particularly typical example of this is The Magical Phonograph, which is like a visual novel.


  • Parasitism: Basically a narrative that relies on an existing narrative, such as various parody adaptations. And a certain Knight from a famous novel turned into an anomaly in the Foundation, and scrambled into various novels, making his story a narrative of himself; and in his own novels The creation of other novels100, and he even visited the printing of his own novel101. This knight not only interprets the image of the original book, but also replaces and interprets the characters of other famous books in his own narrative.


  • **All media undertaking: **Simply put, the text is adapted into multiple new forms of other carriers, such as from novels to comics to live-action movies, etc. The role of the novel has moved from "one-dimensional" to "three-dimensional" . In a sense, it can also be regarded as breaking through the narrative layer and becoming a part of the real reality, like Sherlock Holmes being awarded by the royal family in reality, or Klingon being regarded as a language. Of course, this does not mean that novel things can really break through the narrative layer dynamically.

Deliberately revealed framing and nested cues are the subtleties of this painting 102@ @ @@

Zhao XianSheng pointed out that the commonality of meta-narratives lies in framingframe-disturning103, thus revealing its own meta-fictional properties104. A typical example is the Fourth Wall,, Fourth Wall theory. On the traditional three-wall mirror-frame stage, on the side of the actor facing the audience, there is an imaginary "wall" that does not exist. Inside the wall is the reproduction world, and outside the wall is the real world. Originally, segregationsegregation,, was created between the two worlds. At this time, the actors pretended to be involved in the story, and the audience pretended that they were not watching the "fictional" stage105; But once the characters in the drama talk to the audience and pull the audience out of the "pretend agreement" of the drama, the border between the two worlds, that is, the fourth wall is broken. Although the narrative that breaks the fourth wall appears as fiction invading reality, it is actually the audience pretending that reality is caught in the fictional narrative106.

So all dramas that talk to the audience are considered to be out of bounds? Not really. For example, in some cross talk, in the performance, the interaction between the actor and the audience itself is a part of the drama, that is, the actor uses the real identity instead of the meta-fictional character identity to talk to the audience. , the first is that the audience understands the actor's identity as an actor, the second is that the audience knows that the actor is reproducing the identity of the drama, and the third is that the audience is immersed in the actor's identity in the fictional world. [[/footnote]] Wandering inside, do not take authenticity as a selling point. A metafictional character, on the other hand, will remind you that it "breaks the frame" and make you aware of the frame. After all, when the border is not recognized, the wall-breaking performance of the meta-narrative is no different from a "beginner's guide" that escapes the story. No one should think of the grandfather who talks to the player and teaches which keys to press in the game as a meta-fictional character who breaks the fourth wall?

In the Foundation, the concept of "breaking the fourth wall" is a little different. The characteristics of this type of frame-breaking in the Foundation are mostly manifested as cross-layers, or, in other words, "cross-narrative layers".

Narrative cross-layer and cross-layer type

Genette will "across layers"metalepsis107 is defined as: "Any act of the narrator or the narrator invading the narrative world, or any character of the narrative world invading the metanarrative world (or reverse act)" and Mr. Zhao It is not necessary to involve the meaning of "metaphor and metonymy" into the concept of cross-leveltransgression, and reinterprets it as: "Characters belonging to different levels enter another level, thereby making two narratives interweave at each level." Although this speaks of cross-layers in reality, in the Foundation, a metaphorical connotation can be drawn into this concept and rewritten as:

In a larger narrative, there is a plot: beings belonging to a narrative level can in some way enter another narrative or narrative layer, and connect this narrative (layer) with the original narrative (layer ), have a (possible) impact.

From the perspective of metafictional characters, there are so-called "metaphysical entities" that can transcend the shackles of narrative levels and enter the upper or lower narrative of this level of narrative; at the same time, there may be destroying narratives The ability, as in a certain set of symbols centered on 7, or "counter-narrative", can be put together at a higher level (/layer) of existence, conceptually about After this abnormal narrative symbol, it enters/ascension into the narrative (layer) where it is located, and directly annihilates the entire narrative (layer).

Each narrative layer in "Round Crossing" is like the first step of the Penrose Ladder, in which the so-called transcendental narrator is trapped 108

After climbing up the narrative ladder, there will be a layer of narrative, which is the level of the relative "outer narrative" narrator, that is, the "reality" where the "author" is located - "the place where we are". Just as Deadpool slaughtered the Marvel editorial department, Deadpool, as a meta-fictional character, went to the "editorial department". However, the real-world Marvel editorial department is still alive and well. Therefore, the lower narrative can never surpass the real reality. Wait a minute, you're saying the other side didn't kill the real newsroom just because it hasn't reached "where we are"? Well, if the barrier between reality and virtuality was really that easy to transcend, our world would have been destroyed by a psychotic infinite transcendence of its own narrative, or it would have become The World of Lezi People.

To answer that reality is not affected by fictional characters109, some people think that the narrative layer can be embedded in the narrative layer indefinitely, saying that the guy who crosses the narrative layer is faced with the newly embedded narrative layer after breaking through his own narrative layer, so even if he It can break through the narrative layer infinitely, but it will always be hindered by the new embedded narrative layer that adds one infinitely; }, that is, the entire narrative echelon is essentially a Mobius ring, the level of narrative layers is relative, and the narrators create each other's narrative domain110, can't really get out of the real narrative layer; while Veleafer, put forward sub-narrative layersub-diegesis theory, that is, all narratives under a narrative can be regarded as a sub-narrative layer, and each narrative in the sub-narrative layer is stacked into a narrative domain, and mental illness cannot kill the upper narrative, that is, the real author, but can kill The "author" in the "reality" of the superior narrative, or, in other words, the incarnation of the author in the lower narrative in the real reality.

In fact, according to Genette's theory, narrative only needs to be divided into outer narrative and main narrative. When a meta-narrative (post-narrative) behavior occurs in the inner narrative of the main narrative, the narrative layer extends downward from itself, that is, all subsequent narratives are subordinate narratives of the inner narrative. The meta-narrative, the role of the inner narrative is regarded as the outer narrative, the meta-narrative of the meta-narrative is regarded as the inner narrative, and so on and so forth. So in essence, the sub-narrative layer mentioned by Veleafer is the abnormalization of the concept of Genette's inner narrative and strengthens the ownership relationship between the structures.

True Red EyeOrigin-eating beast, I don’t know how much it has swallowedMetanarrative

And, in order to distinguish it from the "reality" in the novel, this article calls the world we live in the real reality, the real reality is the reality that the lower narrative can never surpass, unless our world is also in a novel among. Of course, if it cannot be proved to be true, it is considered false, so there is no need to think about whether our world is a big dream, a brain in a vat, a programmer simulation, a novel story, and many other "possible worlds". Possible World These hypotheses of "the world is a fiction" don't have to be thought about, after all, you can't think of a reason for it111.

In addition, as mentioned above, high-level narrators generally have the ability to "reduce dimensionality" to low-level narratives, which means that any low-level existence is completely controlled by high-level existence. No matter what the ultimate supreme divinity, even the eternal night gods who claim to cross the narrative echelon, in the face of the blow from the real reality, 11116231 All is gone112, and even spread to the adjacent "phantom bubbles"113.

By the way, some people think that the narrative layer goes down, which means that the characters in the works without the concept of narrative layer are separated from the author by only one layer of narrative, and those so-called meta-fictional characters that go beyond the narrative layer are instead descended. its own narrative level.

To refute this point of view, it can be said that the narrative layer essentially needs only to be divided into the real world and the virtual world. The entire virtual world is equivalent to a sub-narrative layer, and the sub-narrative layer can subdivide the narrative layer infinitely. That is to say, although it seems that there is only one gap between reality and fiction, more narrative layers or narrative domains can be filled in between the gaps—narratives are not absolutely positioned, but there is only one piece displayed from a narrative perspective. Therefore, the narrative layers in which these characters are located are not necessarily significantly different.

But what is certain is that those who transcend the narrative layer are more likely to be in the upper narrative layer. This is actually equivalent to comparing the size between infinity and infinity, which is the same as looking at its growth. However, it is up to the creator to decide.

Narrator and Narrative Perspective

Narrator and hearer

Receiving the narrator (narratee)narratee is the continuation of the symbolic text114, whose re-construction of symbolic texts will form narratives. A narrative must have a narrator who gives it meaning, otherwise the narrative text is a bunch of simple characters or graphics, etc.115.However, as mentioned above, even if it is a zero symbol, as long as its sender is a spiritual "author", then the spirit of the "author" is the recipient of the narrative, and the narrative prototype is constructed in it.

narratornarrator, the sender of the narration. In reality, it is difficult to find a common general narrator strictly from a narrative such as a dream. On the other hand, Mr. Zhao believes that the narrator is the source of the narrative exposed by the "text construction"116, "Accepting and Constructing"117, "genre construction"118 formed the ideographic function, and put forward the view that the narrator can take the form of duality, saying that the essence of the narrator wanders between two ends: one is the personified narrator, and the other is the extreme personified narrator. It is the author himself, and the narrative is entirely of his will; the other end is the framed narrator, separated from the author and the performer, acting as a fictitious "instruction presenterpreseter" Narrative Source119. By the way, dream is also a kind of narrative in narratology, which is mental narrativemental narrative led by the hearer. According to Mr. Zhao, the narrating subject of the dream and the receiving subject are the same person, and the probing consciousness arising from the observer will change the unconscious narrating source, which is the so-called self-referential paradox120.

Broken Father, Uncovered Father, Free Father, Father Unification 121

And in the Foundation worldview, the narrator needs to be psychic. The term narrator is relative to the upper and lower narrative122. Generally speaking, the special spiritual being in the upper narrative is the narrator in the lower narrative. The upper-level narrator at this time does not necessarily have to perform narrative behavior, just as the reader is not the author of the book, but is separated from the characters in the book by a narrative layer.

From the perspective of metafictional characters, most metaphysical narrators are closer to framed narrators, because metafictional characters need to refer to themselves as narrators in order for the "meaning" of the narrative (or the symbolic text's meaning) "meaning"), is revealed in order to allow itself to be constructed. Information that is not given meaning is not a narrative. Or the metafictional character first sees the spirit of the "author" as the hearer, but this spirit can also be generalized to something like "universal consciousness", and the word "narrative" can be left out. Therefore, from the perspective of meta-fictional characters, the metaphysical narrator is more inclined to be a less personal narrator, more like the inner driving force of the narrative layer, and the narrative is more driven by the instructions to build the frame.

This sounds like it deviates from the relationship between the "author and the story character" that the public thinks, but after all, the narrative in the Foundation is an abnormal concept, and it is inevitably difficult to explain it with a realistic concept. Here, this paper will propose such a concept to solve this problem: there are inner narrators in the narrative layer, and inner narrators may not completely replace the position of external narrators.

external narrator

The external narrator is the existence that creates the narrative, that is, the pseudo-author123The collective name for the listener. Among them, the identities of the pseudo-author and the hearer are interchangeable. Take the example of the third child and the second child in the previous chapter. In the example, the first narrator is the original narrator of the archetypal narrative, the third child is the hearer of the first child, the second child is the hearer of the third child, and the third child is the hearer of the third child. The narrator of the second child. After listening to the narration issued by the narrator, the narrator has his own understanding, and this understanding can be regarded as the prototype of a new narration. When the third child listens to the narration of the boss, and then relays it to the second child, the narrative takes shape. This is the so-called first-degree narrative and second-degree narrative.

As mentioned above, language is the foundation of narrative, and the narrator creates the lower world through language. This is similar to how some gods created the world. The LORD said "Let there be light, and there was light" and all of a sudden there was, and this is "In the beginning there was the Word, and the Word was with God, and the Word was God"124. For the revealing narrator125, they are the supreme divinity in the lower narrative, and their words are Word of God,, Word of God,,, which is the first reason for the formation of consciousness of the lower narrative characters, and the inner The initial formulation and higher-level modification authority of all laws and logics can use "mechanical seance"/"plot kill" to control the narrative direction unreasonably, and they themselves are absolutely personified narrators.

narrative perspective

A peek into the scene: The rubber nude woman holds a gas lamp and points to the background painting in the scene 126, while the rest is either left out or left out. This produces what narrative blanknarrative blank is called by Wolfgang Iser,Wolfgang Iser. narrative gaps, i.e. narratives that are not presented under the narrative perspective. Are these unrepresented narratives, these out-of-focus places, nothingness or prosperity? The answer is nothing else. However, in order to facilitate the narrative, in this article, the narrative blank is set as the narrative blank is the place where the external narrator relaxes the control of the lower narrative, and the lower narrative has relative freedom in it127, lest they seem to be instilled in memory and then travel through time and space128.

Iser believes that narrative void is "a catalyst for the reader's imagination, prompting him to add what has been hidden."
The black bars and [DATA EXPUNGED] in earlier works are for this purpose.
[[/footnote]]" and even "MacGuffin"MacGuffin129's method leaves endless reverie for real readers and encourages them to make secondary creations. In the second creation, readers will delete or fill in the prototype narrative according to the existing reference symbols and their own understanding, and interpret it into a new story.

And for the narrated in the Foundation's worldview, it is roughly the same way to create a new lower narrative. And part of the content of the prototype narrative received by the external narrator is supplemented or disappeared in the heterogeneous narrative. Although it has ideas, it does not necessarily reveal relevant content in the narrative. These unwritten things are hidden in specific contexts130, it becomes the so-called "implicit text"implicit text. In the dark, the interpretation of the narrative blank of the lower narrative will move closer to those ideas.131. However, this tendency to move closer will not become "just grow as long as no one pays attention", but will be influenced by the inner narrator132.

inner narrator

The inner narrator is not the incarnation of the author's lower narration, not because of self-narrativehomodiegesis's two-self difference133 and the separated "author" incarnation is not a hidden narrator, but is closer to the presentation of the narrative ontology134 and/or hidden text.

LogosLogos, is the impersonal inner narrator, all the understandable broken laws previously formulated by the outer narrator135 is the framework of the narrative layer and the paradigm and rules themselves. When the external narrator is absentabwesen, Logos follows the logical structure (unconsciously) fitted by his (scattered) thinking, as logic, cause and effect, etc., to make the narrative have some degree of continuity. Therefore, it is possible to logicallyGoss regards it as the inner driving force of narration, unconsciously exercising the authority left by the outer narrator. Does the above introduction sound familiar? That's right, after the personification/deification of Logos, it becomes a broken god who is in charge of the formulation and operation of laws and trapped objects under certain settings (probably) [footnote]]

Divergence, if the Broken God is the Logos in the spiritual world, then Adabos is the Demuse of the real material world FuxisPhusis in the creation narrative.

In fact, the word Adabaoth,, Yaldabaoth comes from the great creator of Gnostic mythology Adabatus Yaldabaoth. Adabbado corresponds to the God of the Old Testament, and is the son of Sophia (Sacred Wisdom/Holy Spirit), and Sophia is one of the original spirits of the spiritual world Pleroma Pleroma, because she wants to get close to the primordial spirit. Spirit/Original Father/The Abyss, and was blocked by boundaryHoros,, set by other spirits, so she gave birth to the aborted child (defect) Adabardo. And Adabbado became blind and crazy because he didn't know the greatness of his original father and his mother Sophia, thinking that he was the only god, so he created the material world.

It can be imagined that Sophia is the "character" (to be precise, awareness) who first awakened the meta-fictional consciousness. (narrative sea) looking for the brilliance of the father (implicit author), but blocked by the narrative framework and laws (horos), so many blind and crazy fallen spirits (substance supreme divinity) were born. These spirits, as the antithesis of the spiritual world (all metaphysics of the narrative world?), create the material ontology of the narrative world.

The above is an interesting little divergence.


And implied authorimplied author is another kind of inner narrator. As opposed to logos, is the general meaning of a particular narrative—the anthropomorphic embodiment of its value. In reality, an author may stand in a certain angle and position and write works that do not conform to his three views. But for readers, sometimes it is not necessarily known that what the original author wrote is not what he thought. So there is a "self" three views, and the "author" who is consistent with the narrative connotation written by "it" is imagined. Although the "author" implicit in the narrative seems to be the author of the external narrative, it is not exactly the same. The implied author exists in each narrative, and the "inverted causality" controls and promotes the development and direction of narrative development. For meta-fictional characters, perhaps the "pen" of the implied author is equivalent to some device that can change the tone of the narrative. In "the author dies"136, the implied author will break away from the control of the superior narrator and become the "real author" within the narrative.

In short, the inner narrator can be regarded as the soul of the narrative, the fictional supreme being within the narrative, and the inherent "reality controller"137. It can be performed in place of the external narrator to a certain extent without being interfered by other narrators. From a metafictional character perspective, this is the so-called "narrative self-filling" mechanism.

Imprint flow model

Concept from "narrative stabilization and filling", proposed by PC-DOS.

The imprint flow is the narrative flow formed when the upper narrative projects the "ideas" to the narrative domain of the lower narrative. This narrative flow is "pressed down", so it is called the imprint flow. After the imprint flow enters the lower narrative, it will experience narrative self-stabilization and narrative self-filling in the "abstract narrative layer (domain)" (whether or not it is dominated by the upper narrator), and then re-construct and influence it in the second imprint. to the lower narrative.

Among them, the abstract narrative layer (domain) is the presumed existence that is interspersed in the narrative layer structure to maintain the stability of the structure. It is equivalent to the buffer before the narrative is formed, which can make the unpredictable ideas of the upper narrative form an unsteady imprint flow into the abstract narrative domain. Among them, it is also assumed that there is a "buffered narrative domain", which is a shortened version of the lower narrative, which will only be temporarily combined with the imprint stream, and the content will not be imported into the lower narrative until the writing signal is received. Narrative self-stabilization and narrative self-filling refer to the fact that the imprint flow will automatically supplement narrative gaps and narrative loopholes. As for the filling mechanism of the narrative blank, you can refer to the statement in the "narrative perspective" chapter above, and I will not go into details here.

In short, the imprint flow model is intended to transform "thinking" into a model of narrative flow, a presumed stable mechanism used to explain the movement of meaning.


Delusional Domain and Phantom Bubble Model

Excerpted from "Series of Eternal Calamities", proposed by Etinjat. In the current worldview, the movement of meaning is the basis of all existence; while the semantic square is the basic framework of all narratives and the context or driving force of the development of the plot.

The false realm is opposite to the real reality, simulating the human thought world in the real reality. As soon as people start to think and describe everything, the lower-level narrative begins to take shape, and various images are gradually formed, which gradually evolve into their own thought/fantasy systems, and the delusion exists in the movement of meaning. among.

The Delusional Domain is filled with absolute spirit by the narrative, in which archetypesarchetype from real-world cognition are deposited. These archetypes are the most basic story materials. inside. A phantom bubble is the unification of a certain set of one/group of authors, which can be regarded as an almighty universe, or a grand narrative echelon138, which contains several layers of narrative (domains) or whatever. These phantom bubbles can refract each other and project their own elements to each other, corresponding to the mutual influence between works and the mutual use of prototype roles. And many phantom bubbles will gather next to a "theme cluster", such as the Foundation theme, to form their own story series. The core of the theme cluster is the official setting and story line, and the far away is the fan story.

Among them, some gather under the shadow of the original nucleus, absorb the energy from the true narrative matrix, and co-evolve the free image; some exude information resonance flow, and put their own narrative elements into other phantom bubbles In the worldview of , it has become a new deductive body; some are integrated with each other, and some are split into sequence strings. As a result, the colorful narrative collections, driven by the basic narrative power that is dissociated in the delusional realm, have their origins and transformations, and have infinite derivations, and the illusion bubbles are set in the mutual influence.

The phantom bubble has its own narrative echelon. Its narrative structure can be compared to "like a lamp that penetrates through gauze layer by layer, leaving light and shadows that are getting weaker and weaker", that is, the existence in the narrative can affect the adjacent narrative layers (usually only the lower narrative), in the Somewhere in the lower narrative there is an existence corresponding to its own image. A being that can move a "light source" is a transnarrator.


Pseudo Unveiled

The pseudoThe Unconcealed One,, Aletheia is the One. It is not a god, but a pseudonym to describe the absolute truth in reality139, the One who is essentially delusional, the unconcealed child, the truth that is supposed to exist behind the ultimate veiler. It is the infinity that runs through and connects the real and the false, and is thing-in-itself thing-it-self,, with nothing attached to it except itself. Except for Taiyi itself, any idea used to describe it, any model used to construct its paradigm, is a parody of it. The so-called too many words and too few words, because of descriptions and delusions, because of delusional delusions. And everything formed in the delusional realm, including this interpretation, obscures the One. The rest of the things continue to imitate the original prototype of Taiyi140 to adjust its own way of being to trigger and influence the movement of meaning.

Ultimate Shader

False Supreme in the entire system of this article is False Emperor[ [footnote]] The word "empty" means: empty, unreal, fictitious, imperfect, not complacent, desireless, non-existent, absent-minded, etc.

[[/footnote]]: As a completely divine concept such as "most", "ultimate", "primitive" and other completely divine concepts, the person of "in"present assumes the infinite Gnosisnous's figurative and limited semantic aspects141 The perfect (semi) personified "is"being has become the end of the attribution and traceability of everything142, the ubiquitous Yuanyi, the mysterious and mysterious origin, and the avenue of inaction and inaction. He sits between the borderline between the real and the delusional realm - the supreme virtual emperor143, the ultimate purposetelos of the movement of meaning, people can only see the side that is disguised by the word "God"144. He is the ontology/archetype/existence basis of the concept of God in the entire false realm, and is the presenterpreseterof the most external narrativeextra-diegetiqueframework and the source of truth. ultimate shadeverdecken145, above it is true, below it is false, if you want to transcend it, you only need uncoveringentbergung to break down all falsehoods.

It has five personalities representing the movement of meaning, or five faces and appearances146:

  • Lijingshen: Positive phase.
  • Brother Demiao from a foreign country: Reverse phase.
  • Ignorance and Chaos: neither positive nor negative, there is no fixed phase.
  • Impermanence: both right and reverse, all things are in disguise.

*Not applicable: Not applicable.

The potential of the movement of meaning (part)

Negation brings new changes, the pseudo-god of narrative power incarnation:

  • Negative - Crimson Demon: The body of the Crimson King, the embodiment of various malice in the upper narrative, representing various negative factors, the incarnation of the driving force of the "final boss behind the scenes" and the "negative plot", and the driving force of the narrative development One of the basic forces of "turn"147.
  • Plot pusher - Jester in Yellow: It is the "intentional" and "coincidence" fiddler of the turning point in the plot development. All "figures"148 are its puppets. He is both the puppeteer and the puppet being manipulated. And once he lifts the puppet line, the whole universe dances along with it, putting on a drama of joys and sorrows.


In short, the model just tries to appear fairIt fits the various narrative behaviors in reality, so as to avoid disputes over which one is superior, which one is inferior, what setting version is adopted, why the characters enter into other setting universes, and so on.


extended index

Reality Discipline

Narratology (narratology) · semiotics · metaphysics · absurd metaphysics · absurdist literature

involves setting

kksk · picsell-dois-deduction-lecture-sandwich-autofill-stabilizer · deduction-department2 · gods-beyond-absolute-infinity

Recommended reading

reference-meta · Stay tuned

Other popular science


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