本文是同名視頻 BV1M94y1z78t 的字幕。英文字幕使用了 ChatGPT 修改并添加標(biāo)點(diǎn)。

If I asked you to imagine a generic philosopher, you would probably conjure up the image of some dude waxing poetic about ethics and morals and hypotheticals. Now, modern philosophy does have this kind of reputation, but ancient philosophy, that's a whole different ballgame.

Ancient philosophers certainly did debate morals and ethics the way modern philosophers do, but they were probably best known for their work in science. See, before scientists were really a thing, philosophers were the ones who attempted to explain and understand the world around us. They would rationalize their way to understanding. They were scientists who could only present hypotheses, and they were very often very, very wrong, at least by today's standards.

在你眼中，哲學(xué)家一般是什么樣子呢？你可能會想到一個人穿著正裝，以詩意的說辭大談道德、倫理和各種假說。現(xiàn)代哲學(xué)確實(shí)給人這種印象，但古代哲學(xué)卻截然不同。

古代哲學(xué)家當(dāng)然也和現(xiàn)代哲學(xué)家一樣會爭論倫理道德問題，但他們最有名的成果或許在科學(xué)方面。在現(xiàn)代意義的科學(xué)家出現(xiàn)之前，是哲學(xué)家在試著解釋、理解我們周圍的世界。他們理解世界的方式是推理。他們是只能提出假說的科學(xué)家，而且從今天的眼光看，他們的結(jié)論往往大錯特錯。

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Now, this may surprise you, but Hoyoverse is a huge fan of ancient philosophy, especially when it comes to Plato. Never has this been more explicit than in the 3.8 Bottleland event, because that baby is stuffed with ancient philosophy, and I am going to use all of it to explain and contextualize all this Irminsul memory wipe time rewrite nonsense.

Now, I am obligated to tell you that this is the finale of my four-part series that has been split into two parts, making this officially a five-part series. But that's only because there's a lot of heavy information to digest, and I didn't want to confuse anybody. It totally had nothing to do with me not wanting to edit another 45-minute video. Nope, totally didn't. So, with that out of the way, allow me to officially introduce part one of the finale to this four-part series. This is the video where all these seemingly disjointed ideas start coming together into one cohesive package. This is the theory of Project Teyvat.

不過，有件事你可能意想不到：米哈游非常喜歡古代哲學(xué)，尤其是柏拉圖哲學(xué)。最明顯的例子就是 3.8 版本的瓶之國活動，因為那里充滿了古代哲學(xué)的身影。這一回，我要利用其中的所有內(nèi)容，解釋“世界樹抹除記憶、重寫時間”的前因后果。

事先說明一下，本視頻是我一個四聯(lián)系列視頻的最后一部分，這部分又分上下兩集，所以形式上其實(shí)是五聯(lián)系列視頻。分集只是因為信息太多，可能難以消化，我又不希望有人看不懂，絕對不是因為我不想再剪一個 45 分鐘的視頻哦。絕對不是！那么，解釋也解釋清楚了，下面就正式進(jìn)入這個四聯(lián)系列的大結(jié)局的上集吧。在這個系列中，我把一些看似不相關(guān)的觀點(diǎn)通通融合成一個連貫的整體，統(tǒng)稱為“提瓦特計劃”。

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So, I mentioned that the 3.8 Bottleland event was stuffed full of Greek philosophy, but really what it was is a very explicit use of Plato's allegory of the cave, but in a bottle with anime characters.

In the allegory of the cave, Plato describes a hypothetical group of people who have been imprisoned in a cave since childhood. They've been bound and chained so they can only gaze at the wall in front of them, upon which is cast a shadow puppet show put on by a group of puppeteers. The prisoners have no idea these puppeteers exist because they've never seen them, and they believe that the images cast on the wall to be their true reality.

But then, one of the prisoners breaks free of their chains, then turns around and sees the puppets, the puppeteers, and the light that they use to cast the shadows on the wall. This sight is so foreign and confusing, and the light is so bright that the prisoner willingly turns back to the wall. In other words, they reject the truth because it's too difficult to process.

前面我提到 3.8 的瓶之國活動充滿了希臘哲學(xué)的味道，具體來說，它精準(zhǔn)復(fù)刻了柏拉圖的洞穴寓言，只不過是用一群二次元角色在某個瓶子里演繹罷了。

柏拉圖的洞穴寓言設(shè)想了一群囚禁在洞穴中的人。他們從小就被鐵鏈鎖在洞里，只能看到面前的墻壁，墻壁上投射著一伙木偶師表演的傀儡戲的影子。囚徒不知道木偶師的存在，因為他們從未見過木偶師，他們相信墻上投射的影子就是真正的現(xiàn)實(shí)。

然而有一天，某個囚徒打碎了鎖鏈，轉(zhuǎn)身看到了木偶、木偶師和他們用來投射影子的光。這副無比怪異的景象讓他極為困惑，加之光線也極為明亮，反而使他轉(zhuǎn)身回去面壁。也就是說，他否定了真相，因為真相太難以理解。

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But what if that prisoner was forced out of the cave? They would have been assaulted with the incredibly bright light of the sun that was casting objects in three full dimensions instead of gazing upon the 2D flatness of the cave wall. They would have no choice but to acknowledge that this was the true reality. Now, imagine this freed prisoner went back into the cave in order to tell the other prisoners about what they saw. Their eyes would have adjusted to the light, so the darkness of the cave would have blinded them. The other prisoners would, therefore, believe that the freed prisoner's experience had caused them some sort of irreparable harm and would never willingly take part in their offer to leave the cave, thereby willingly imprisoning themselves in the cave instead.

但是，如果強(qiáng)迫這個囚徒走出洞穴呢？極其明亮的陽光會沖擊他的雙眼，它“投射”的物體不再是先前洞穴墻壁上的二維平面，而存在于完整的三維之中。于是他別無選擇，只能承認(rèn)這才是真正的現(xiàn)實(shí)。現(xiàn)在，試想這個被釋放的囚徒再回到洞穴，他將看到的事物告訴了其他囚徒。由于他的眼睛已經(jīng)適應(yīng)了光線，所以洞穴的黑暗會使他目盲。于是，其他囚徒便會認(rèn)為，被釋放的囚徒的外出經(jīng)歷給他帶來了無法彌補(bǔ)的傷害，因此他們永遠(yuǎn)不會接受離開洞穴的提議，反而自愿將自己囚禁在洞穴之中。

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Now, this allegory is connected to another one that we're going to talk about later, and it's meant to talk about how the soul is imprisoned in the body, the way that these prisoners were kept in a cave. However, in Genshin, we take things literally. Bottleland really pushes the shadow puppet theme as Idyia has willingly imprisoned herself within a bottle and uses these special projectors to cast images on the walls that she calls pre-prints. In Bottleland, everything starts as a pre-print and only takes shape after being illuminated by a Streaming Projector. The biggest Streaming Projector, which takes the shape of a spinning wheel, is the one in the center of Bottleland. But, in order for it to function properly, it needs all of its components.

這個寓言與我們稍后會談到的另一個寓言有關(guān)，它原本是想表達(dá)靈魂就如同那些洞穴中的囚徒，被囚禁在身體之中。不過在原神中，我們就采用字面上的意思。瓶之國的主題就是影子傀儡戲，伊迪婭自愿將自己囚禁在瓶子里，并使用特殊的投影儀在墻上投射她所說的“先成圖”的影像。在瓶之國，一切事物都源于先成圖，并由聚流映燈投射后才能成形。最大的聚流映燈形如紡車，位于瓶之國的中央。不過，為了讓它正常工作，我們要找到所有的組件。

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These components aren't like machine parts, though, as they manifest as seemingly random objects. In this case, they are a gear, a rope, a candy box, and a lamp. As it turns out, these objects were gifts to Idyia from the visitors to Bottleland, and she uses them to alter her realm using the Streaming Projector after powering it up with the wishes and dream energy from the Shinrou casket. You can kind of think of these objects as objects used to cast shadows on the wall of the cave.

So, to summarize, within the Bottleland domain, everything starts as shadows on the wall called pre-prints, which can manifest in the real world with the help of a Streaming Projector, which is powered by memories and wishes and also formed physically via elemental energy. If the first thing you thought of when I called this Streaming Projector that shapes reality with wishes was the Loom of Fate, then you probably have a pretty good idea of where I'm going with this theory because right now the big reality-shaping thing in Teyvat that has a connection to fate is Irminsul.

這些組件不同于一般的機(jī)械零件，看上去像是些無關(guān)的東西。它們是：齒輪、登山繩、糖果盒、旅行燈。后來我們知道，這些物品是瓶之國的訪客留給伊迪婭的禮物，她借助聚流映燈用它們改造了瓶之國的景象，又用蜃樓玉匣之中的愿望和夢想為它供能。你可以把它們看作向洞穴的墻上投影的物體。

總結(jié)一下，瓶之國的一切都源于墻上名為“先成圖”的影子，先成圖在聚流映燈的作用下在現(xiàn)實(shí)世界中顯現(xiàn)，而聚流映燈由記憶和愿望供能，并依靠元素能量形成實(shí)體。看到“聚流映燈將愿望塑造為現(xiàn)實(shí)”的說法，如果你首先想到了“命運(yùn)的織機(jī)”，那么你對我接下來要說什么估計也猜到個八九不離十了：在當(dāng)前的提瓦特，與命運(yùn)有關(guān)的大型“現(xiàn)實(shí)塑造機(jī)”就是世界樹。

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You remember our good old buddy Irminsul here, right? It's a massive amalgamation of memories and energy which it continuously collects via ley line root system. Yeah, that Irminsul. This constant influx of information that it has allows it to function like a giant repository. And at first blush, that seems to be all Irminsul is - a giant historical record woven into the fabric of reality itself. But if it were just a repository, it wouldn't be able to physically alter the world, and Irminsul does that a lot by tampering with it.

You could erase yourself from history, or you could change the ecosystem of an entire mountain to be an Arctic wasteland, or you could lock an entire island in a ghostly time loop, or you could get yourself trapped in an underground cave that has no beginning and no end with rooms that give your innermost fears physical forms. And, well, I think it's pretty clear that fundamentally this tree seems to form reality in some way, not just record it. And that makes it pretty similar to the Streaming Projector.

Now, the inner workings of Irminsul are still a bit of a mystery. However, it is reasonable to assume that since Rukkhadevata was literally the Avatar of Irminsul, that her creations would mimic aspects of this tree, specifically with regards to the Akasha.

還記得我們的老朋友世界樹吧？它通過地脈系統(tǒng)不斷收集記憶與能量，是二者的巨大融合體。沒錯，就是它。信息源源不斷地涌入，它仿佛一個巨大的存儲庫。乍一看，世界樹似乎只是編織在現(xiàn)實(shí)經(jīng)緯之中的歷史記錄。但如果它只是存儲庫的話，它就無法在物質(zhì)上改變世界，可世界樹確實(shí)干涉過現(xiàn)實(shí)好幾次。

它可以讓人從歷史中抹去自己；或是改變一整座山的生態(tài)系統(tǒng)，使之變成極地般的荒漠；或是將整座島嶼鎖定在詭異的時間循環(huán)之中；又或是使人困在地下的洞穴，那里無始無終，還能將人內(nèi)心最恐懼的事物具現(xiàn)化。那么，我覺得已經(jīng)很清楚了，從根本上看，這棵樹似乎能用某種方式形成現(xiàn)實(shí)，而不僅僅是記錄現(xiàn)實(shí)。因此，它與聚流映燈非常相似。

目前，世界樹的運(yùn)作原理依然頗為神秘。然而，我們有理由認(rèn)為，由于大慈樹王是世界樹的化身，那么她的創(chuàng)造物，尤其是“虛空”系統(tǒng)，應(yīng)當(dāng)會模仿世界樹的某些特點(diǎn)。

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The Akasha was originally created in order to find a way to eliminate Forbidden Knowledge, and to do this, it needed a source of intelligence and information. Thus, Rukkhadevata gave it the ability to harvest the dreams of the Sumerian people, since she believed that wisdom lied in dreams. The Akasha would then take the people's dreams and compile it into wisdom. This is quite similar to how Irminsul uses ley lines to siphon memories for storage. Now, I know that dreams and memories don't seem to be related in any meaningful way here, but for the purposes of this theory, let's just put them both under the blanket umbrella of thoughts, okay? Dreams being unconscious thoughts and memory being conscious thoughts. This will make more sense later on, I promise.

“虛空”最初的目的是尋找消除禁忌知識的方法，為此，它需要智慧和信息的來源。于是，大慈樹王賦予了它收集須彌人民夢境的能力，因為她相信智慧存在于夢中?！疤摽铡笔占瘔艟?，將它們匯編成智慧，這與世界樹利用地脈汲取并存儲記憶的做法非常相似。當(dāng)然，我知道夢境和記憶似乎沒有任何合理的關(guān)聯(lián)，但在我的這套猜想中，我把它們都?xì)w入思維的范疇：夢境是無意識的思維，記憶是有意識的思維。我保證，之后你們會明白其中的含義。

按：見第三章第五幕大慈樹王的話：那時的我知道，單靠我自己的力量，根本無法將禁忌知識驅(qū)逐。于是我創(chuàng)造了統(tǒng)合人類智慧的裝置，并將其命名為“虛空”。

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Now, the Akasha, at least, is capable of more than storage. We know for a fact that it can twist one's perception of reality. Case in point is this scene here where Azar doesn't actually know if Nahida is there or not. We also know that it can be used to create a non-physical reality, a dream world. In Nahida's first story quest, a man named Moseis uploaded his consciousness into the Akasha and constructed a very elaborate dream world within it, using the Akasha's power as well as the Jnana energy, or rather dream energy, that he harvested from individuals within the city who could also enter the dream world whenever they slept. We can see something kind of similar in the way that Apep functions. Apep's sentient fragments talked quite a bit about this dream world that they lived in, that existed within the Dendro Dragon. They were a part of her, but they were still individuals. Apep was the dominant mind of this collective unconscious, if you will, just like how Moseis was the dominant mind of the dream world.

“虛空”的能力絕不只是存儲。我們明確知道它可以扭曲一個人對現(xiàn)實(shí)的感知。就拿這個場景來說，阿扎爾其實(shí)不知道納西妲是不是就在眼前。我們還知道“虛空”可以用來創(chuàng)造非物質(zhì)的現(xiàn)實(shí)，即夢境世界。在納西妲的傳說任務(wù)第一幕中，一個叫莫塞伊思的人將自己的意識上傳“虛空”，并在其中構(gòu)建了一個相當(dāng)細(xì)致的夢境世界。他利用了“虛空”的力量以及從城市居民那里收集的“知能”，也就是夢境能量。這些居民在睡覺時也可以進(jìn)入他的夢境世界。我們可以在阿佩普那里看到一些類似的東西。阿佩普產(chǎn)生了許多有意識的碎片，它們談了很多夢境世界的信息，那是它們在草之龍體內(nèi)的住所。它們是阿佩普的一部分，但它們也是單獨(dú)的個體。阿佩普可以看作這個集體無意識的主導(dǎo)，與莫塞伊思是他那個夢境世界的主導(dǎo)意識如出一轍。

按：見浮游水蕈獸·元素生命的話：在草之龍的體內(nèi)，有另一個世界，草之龍孕育了最初的生命，將我們保護(hù)在其中。

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A very similar theme can be found in Alhaitham's first story quest, wherein we confronted a literal hive mind. And you could argue that the Simurgh in the Desert was a very similar entity to Apep, since it shattered into the smaller Pari. The Oceanids are also confirmed to be some sort of hive mind or collective consciousness, since they freely merge with one another and also possess a dominant mind. And of course, we can't forget King Deshret's Golden Slumber, wherein a million minds merged into one as they entered a golden dream. So, you can see there's this undeniable theme of many minds becoming one mind, and one mind becoming many minds, often using dreams.

艾爾海森的傳說任務(wù)第一幕也有極為相似的主題，我們在那里遇到了真正的蜂巢思維體。我們還可以認(rèn)為，沙漠的西摩格也與阿佩普非常相似，因為它分裂成了更小的花靈。我們先前就知道，純水精靈也是類似蜂巢思維或集體意識的族群，它們可以自由地相互融合，并保有一個主導(dǎo)意識。當(dāng)然，別忘了還有赤王的黃金夢鄉(xiāng)，成千上萬個意識在金色的夢中合為一體。所以，“許多個體意識成為一個意識，一個意識成為許多個體意識”，這個主題毫無疑問是存在的，而且往往以夢境為媒介。

按：具體可見 1.4 版本的“純水之愿”活動。這里僅引用嫣朵拉的一句話作為例子：純水精靈的主導(dǎo)意識，很容易因為融合了一個有惡念的小意識就崩潰的。

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There are so many dream themes. The Akasha uses dreams and it's powered by dream energy. The fragments of Apep are part of the dream of the Dendro Dragon. The Aranara live within a dream space. Deseret built the Golden Slumber, and it's only during slumber that one dreams and enters the Golden Dream in his whole little thing. Then the Goddess of Flowers was also known as the Mistress of Dreams. We've got Leonard's dream that was forced upon people via his constellation during the Unreconciled Stars event. And then we have Dainsleif talking about those who dream of dreaming in the Travail trailer.

So, the real question then becomes why collective consciousnesses and why dreams?

同時，還有很多關(guān)于夢境的主題?！疤摽铡币玫綁艟?，并由夢境能量驅(qū)動。阿佩普的碎片是草之龍的夢境的一部分。蘭那羅生活在夢境空間之中。赤王建造了黃金夢鄉(xiāng)，人只有沉眠之時，才能夢見并進(jìn)入那個金色的夢境。還有，花神也被稱為“夢的女主人”。再就是萊納德，在“未歸的熄星”活動劇情中，他的命之座強(qiáng)行將人拉入他的夢中。最后，是戴因斯雷布在“足跡”預(yù)告片中提到的“仍有人想要做夢”。

所以，真正的問題應(yīng)當(dāng)是：為什么如此強(qiáng)調(diào)集體意識和夢境？

按：見綠洲花園的恩惠的介紹：在被黃沙掩埋的古老文獻(xiàn)中，花的王者是夢的女主人。

The collective unconscious was a term coined by Carl Jung, and it was a theory that ran in contrast to the Western philosophy of the personal unconscious, which was developed by Sigmund Freud. Ironically, these two work together studying the unconscious mind but ended up on two very different sides of the argument. Now, Freud believed that the human mind was impermeable, that the mind was only shaped by the experiences of the individual. But Jung proposed the idea that the human mind bled into the surrounding world and contributed to a greater collective of all minds. This greater collective would be shared and therefore inherited by every other mind, hence the collective unconscious. He used this theory to explain why so many people can manifest the same fears and phobias for no apparent reason, and why so many people share similar morals and ethics despite never meeting, and why there were so many shared myths and Genesis stories and you know, that kind of thing.

“集體無意識”是卡爾·榮格提出的概念，它與西方哲學(xué)中由西格蒙德·弗洛伊德提出的“個人無意識”相對立。兩人曾共同研究無意識思維，但最終站上了兩個截然相反的立場，實(shí)在令人唏噓。弗洛伊德認(rèn)為人類的思維無法從外部滲透，思維只受個人經(jīng)歷塑造。但榮格認(rèn)為，人的思維會流入周圍的世界，加入一切思維的集合體。這個大集合體由人群共享，因此被每個單獨(dú)的思維繼承，于是就有了集體無意識。他用這個理論來解釋以下事情：為什么很多人會沒由來地出現(xiàn)相同的恐懼心理或恐懼癥，為什么很多未曾謀面的人會擁有相似的倫理道德觀念，為什么有那么多相似的神話傳說和創(chuàng)世故事，諸如此類，不一而足。

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That's really as in-depth as I'm going to go for this video, but if you want to learn a little bit more about why Jungian psychology manifests itself in Eastern pop culture and media, Daryl Talks Games made a really great video on this topic that I highly recommend. I will leave a link for you down below. But with Jungian psychology in mind, it's pretty easy to see the Akasha, the Golden Slumber, Apep, and Irminsul as different manifestations of this theme of collective unconsciousness.

本視頻要討論的大概就是這個深度，如果你想更多地了解榮格心理學(xué)在東方流行文化和媒體中的面貌，我強(qiáng)烈推薦你看看 Daryl Talks Games 做的視頻。我會在簡介中留下視頻鏈接。從榮格心理學(xué)的角度看，很容易看到“虛空”、黃金夢鄉(xiāng)、阿佩普、世界樹等，都是集體無意識的不同表現(xiàn)形式。

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But you may be wondering, why is there all this emphasis on the collective unconscious in Genshin to begin with? And that's where we need to shift back from psychology to philosophy. In an attempt to explain how the world around him worked, the Greek philosopher Plato once proposed the idea known as the theory of forms. The concept itself is very simple, even though the language around it is kind of confusing. Basically, everything exists on two levels of reality: the physical and the intangible. The intangible level of existence consists of an idealized form, hence the name of the theory, a theory of forms. A form is basically the essence of an object or being. It's an idea or a concept which can be materialized onto the physical plane in some imperfect manner. This can be a little tricky to wrap your head around the first time you hear it, so let me give you an illustrated example of how this actually plays out in practice.

你可能會想知道，原神為什么要強(qiáng)調(diào)集體無意識？這就需要我們從心理學(xué)再轉(zhuǎn)回哲學(xué)。希臘哲學(xué)家柏拉圖為了解釋世界如何運(yùn)作，提出了“理念論”的觀點(diǎn)。雖說它的用語可能不太好懂，但這個概念本身卻非常簡單。它說，一切事物都存在于兩個層面的現(xiàn)實(shí)之中，即有形層面和無形層面。其中無形的層面由理想的理念構(gòu)成，因此這個觀點(diǎn)被稱為理念論。理念可以說是存在物的本質(zhì)。它是一種觀念或概念，可以通過某種不完美的方式在物質(zhì)層面形成實(shí)體。第一次聽到這個觀點(diǎn)可能有點(diǎn)難以理解，所以我下面舉一個實(shí)例來說明它的實(shí)際應(yīng)用。

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This right here is a spoon, and so is this, and so is this, and this, and this, and this, and this is also a spoon, and so is this. Now, despite all of these spoons being of different materials, shapes, and sizes, and even purposes, we can all collectively agree that these are spoons. But objectively speaking, these are all very different objects. So why do we unanimously categorize them as the same thing?

眼前的是一把勺子，它也是勺子，它也是勺子，還有它，它，它，它都是勺子，它也是。雖然這些勺子的材料、形狀、大小乃至于用途都不同，但我們都一致認(rèn)定它們是勺子。然而客觀地說，它們是各不相同的物品。那我們?yōu)槭裁磿恢碌貙⑺鼈儦w類為同一種東西呢？

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Plato says that this is because the concept of a spoon exists separately from a physical spoon. A physical spoon is merely an imperfect copy of what the idea of a spoon truly is, and this idea exists only within our mind or on a higher plane of existence. It is therefore indestructible and eternal. Because these forms exist only within our minds, we can split the theory of forms into intangible thoughts and physical things, with the understanding that the things are just imperfect manifestations of thoughts. And since thoughts always precede things, you could make the claim that thoughts become things. I am oversimplifying the hell out of this dialogue, and that's okay.

柏拉圖認(rèn)為，這是因為勺子的概念與實(shí)際的勺子是分離的。有形的勺子只是不完美地復(fù)制了勺子的本質(zhì)，而它的本質(zhì)概念只存在于我們的思維或更高的層次之中。因此，它能夠永存不滅。由于這些理念只存在于思維之中，我們可以將理念論分為無形的思維和有形的物體，其中的物體只是思維的不完美表現(xiàn)。而且，因為思維總是先于物體存在，所以我們可以說，思維變成了物體。我給柏拉圖的對話做了很大的簡化，但問題不大。

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Now, it is implied in Nahida's second story quest and other places that elemental energy permeates the entire world. We're talking rocks, plants, water, air - basically all of Nature has some level of elemental energy within it, with a few exceptions. This is why when she hears that Apep might die, or rather explode, she freaks out, claiming that the explosion of elemental energy would cause all the plants to go whoosh and just shoot up exponentially. The logical assumption we can make here is that elemental energy, at some level, makes up the fabric of Teyvat's physical reality. It makes up the physical things, at least in some proportions. So a huge influx of elemental energy would cause uncontrollable growth and creation.

由納西妲傳說任務(wù)的第二幕以及其他地方的暗示可知，元素能量充滿了整個世界。不論巖石、植物、水還是空氣，自然界的一切事物基本上都具有一定量的元素能量，只有少數(shù)例外。所以納西妲聽聞阿佩普可能會死，會“爆炸”時，才會那么驚慌，說元素能量逸散會導(dǎo)致所有植物迅速生長。由此可以合理假設(shè)，元素能量是提瓦特物質(zhì)實(shí)體的基礎(chǔ)，至少構(gòu)成了物質(zhì)的一部分。因此，大量的元素能量會導(dǎo)致生長和創(chuàng)生失去控制。

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Irminsul works with memories and elemental energy, and these two things are somewhat interchangeable or can at least be freely converted between each other. And if the world is even partially made up with elemental energy, and elemental energy can be converted to memories, and memories are just thoughts, then Irminsul is simply allowing thoughts to become things. This should be theoretically how the Streaming Projectors in Bottleland work - they allow the pre-prints, which are like the blueprints or thoughts, to become physical things, and then the two can freely interact with each other. This is how Irminsul can rewrite books, this is how Wanderer erased himself from history - he didn't change time, he made the collective unconscious within Irminsul forget he existed. So those thoughts adjusted the things within Teyvat's reality.

世界樹靠記憶和元素能量運(yùn)轉(zhuǎn)，這兩者大體上可以互換，至少也是彼此之間可以自由轉(zhuǎn)換。世界即便只有一部分由元素能量構(gòu)成，而元素能量可以轉(zhuǎn)化為記憶，記憶又只是思維，那么就可以說世界樹讓思維變成了物質(zhì)。這應(yīng)該就是瓶之國里聚流映燈的工作原理了：它能夠讓先成圖（類似于藍(lán)圖，或者說構(gòu)思）變成有形物質(zhì)，并且兩者可以自由地相互作用。這就是世界樹可以修改書籍內(nèi)容的原因，也是流浪者將自己從歷史中抹去的方式——他并沒有逆轉(zhuǎn)時間，而是讓世界樹的集體無意識忘掉了他。這些思維也據(jù)此調(diào)整了提瓦特世界現(xiàn)實(shí)中的事物。

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And this function becomes really obvious when you look back at how the Akasha works. For example, during the Sabzeruz samsara Festival, Nilou was the host of the collective unconscious. It was her dream that everyone was participating in, her thoughts influenced the collective, and that was what shaped the reality of the dream space. Now, in Nahida's first story Quest, Moseis was also kind of directing the dream world, but the people within it were shaping their own experiences. And you may remember how the depths of the chasm during the Perilous Trail Quest responded to reflect the thoughts of each individual. Remember how the space itself was unstable, how time seemed to be relative to each individual person? Well, this was likely because within that chaotic space, as Yanfei dubbed it, not everyone there was in agreement about how reality should present itself. So each person was continuously shaping the world around them in very different ways and to very different extents.

回頭再看“虛空”的運(yùn)作方式，可以明顯看出這個功能。例如，在花神誕祭的輪回期間，妮露是集體無意識的主人。那是她的夢境，每個人都參與其中，她的思維影響了集體，因此塑造了夢境空間的現(xiàn)實(shí)。而在納西妲的傳說任務(wù)第一幕中，莫塞伊思也在某種程度上指導(dǎo)著夢境世界，但其中的人卻能改變自己的經(jīng)歷。你或許還記得在“危途疑蹤”的故事中，層巖深處會回應(yīng)每個人的思維吧？還記得那里的空間本身是不穩(wěn)定的，時間相對于每個人都不一樣吧？這很可能如煙緋所說的那樣，在混亂的空間中，并不是每個人都同意現(xiàn)實(shí)應(yīng)該呈現(xiàn)為什么樣子。所以每個人都在以截然不同的方式不斷地塑造著自己周圍的世界，程度也各不相同。

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And if you think I'm crazy for all of this, or that this might just be a really huge stretch, I am obligated to tell you that this is not the first time Hoyoverse has based a crucial element of their games on Plato's theory of forms. In fact, this exact same kind of thing can be found in both Guns Girl Z and Honkai Impact 3rd, as the infamous Project Stigma, the final plan to defeat the Ultimate Form, which they call Finality.

如果你覺得我在胡扯，或者認(rèn)為這種聯(lián)系非常牽強(qiáng)，那么我必須要說，這并不是米哈游第一次用柏拉圖的理念論構(gòu)建游戲中的關(guān)鍵要素。其實(shí)，崩壞學(xué)園2和崩壞3中都可以找到完全相同的情況，那就是“圣痕計劃”，它是擊敗終極形態(tài)（他們稱之為“終焉”）的最終計劃。

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I am not going to go into detail on Project stigma in this video, but I will leave a link to a great video that Homu Labs made on the subject if you want to learn more about it and its particulars. The only real relevant thing that you need to know about it, that I have not mentioned yet, is that project stigma was never completed in Honkai Impact as the main characters found another solution. However, I do think it's quite plausible that Hoyo created Genshin to show what would have happened in a world where something like Project Stigma succeeded and humanity became the concept of humanity instead of physically a collective group of human beings. This idea would paint the Primordial One in an entirely different light.

我不會在這里詳細(xì)介紹“圣痕計劃”，但如果你想進(jìn)一步了解它的細(xì)節(jié)，可以看看 Homu Labs 制作的優(yōu)秀視頻，鏈接我放簡介里了。關(guān)于這個計劃，你只需要知道一件事：崩壞3的“圣痕計劃”并未完成，因為主角團(tuán)找到了另一個解決方案。然而，我認(rèn)為米哈游可能想通過原神來展示另一種結(jié)果，在這個世界中，某個類似“圣痕計劃”的計劃成功實(shí)施，人類成為“人類”的概念，而不是物質(zhì)上的人類集體。這個想法描繪了一個完全不同的“原初的那一位”。

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In the context of Plato's theory of forms manifesting itself in Teyvat as Irminsul, the role of the Primordial One might be akin to that of an all-encompassing God, a being with power and authority over literally everything. But the concept of everything can be split into multiple parts, and this is how we get four Shades, four subcategories under the concept of everything. I've suggested in previous videos that the powers of the Primordial One and its Shades are reflected in the five types of artifacts: Life, Death, Time, Space, and Logos. In context, this makes total sense as these are extremely high-level concepts that reality would have a very difficult time existing without. Humans are alive, so therefore we need the concept of life, but you can't really have life without death. In the same way, you can't have light without dark, and in order to measure life, one needs time. But time can only be measured by something's interaction with space, and all of these things require a sentient observer, Logos, in order to truly exist. Logos being the Primordial One after having split four pieces of itself makes sense because without observation, the other concepts are pretty meaningless, right? And as time goes on, these conceptual Gods would then split themselves into smaller and smaller pieces, resulting in lesser Gods like Seelies, who would assume the titles of Dust, Salt, Rock, Vortex, and so on.

由前文所述，柏拉圖的理念論在提瓦特表現(xiàn)為世界樹，那么“原初的那一位”便可能類似于包羅萬象的神，擁有一切事物的權(quán)力和權(quán)能。但“一切事物”的概念可以分為幾個部分，于是就有了四個影，它們是“一切事物”之下的四個子類。我在先前的視頻中提到，“原初的那一位”和四影的力量體現(xiàn)在五種圣遺物上，即生、死、時、空和理。從理念論的角度看，這也完全合理，因為它們都是層次非常高的概念，沒有它們，現(xiàn)實(shí)幾乎不可能存在。人類是活著的，所以需要生的概念，但有生無死，生命就無法真正存在。這就好比光明不能脫離黑暗而存在。為了衡量生命，我們需要時間，但時間只能通過與空間的相互作用來測量。最終，所有這些事物都需要一個有感知的觀察者才能真正存在，這個觀察者就是“理”。理在將自己分成四個部分后才算是成為了“原初的那一位”，因為如果沒有觀察，其他幾個概念就毫無意義。隨著時間推移，這些概念的神又將自己分成越來越小的部分，產(chǎn)生仙靈之類的更低層次的神，獲得塵、鹽、巖、漩渦等稱號。

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Fast forward to modern times with the Archons, and we see that Archons not only govern an element on the Physical Realm but also a concept on the intangible realm, like Freedom, Eternity, and Wisdom. And all of these things are connected and projected via Irminsul, a synthetic conceptual world overlaid on top of the remains of the old world. All that said, I don't think that the Primordial One was really like a god in the traditional way that we think about them, that you know, like created the world in seven days and that kind of stuff. I think the truth is a little bit more sci-fi, and that would fit more thematically with Hoyo's history with Project Stigma.

下面快進(jìn)到當(dāng)代提瓦特，我們看到，塵世七執(zhí)政不僅各自統(tǒng)治著有形領(lǐng)域的某個元素，還統(tǒng)治著無形領(lǐng)域的某個概念，即自由、永恒、智慧等。這些事物由世界樹相連和投射，世界樹則是覆蓋在舊世界遺跡上的一個合成的概念世界。話雖如此，我并不認(rèn)為“原初的那一位”是傳統(tǒng)意義上的神，在七天之內(nèi)創(chuàng)造了世界什么的。我認(rèn)為真相更具有科幻味道，這在主題方面也更符合米哈游以往對于“圣痕計劃”的執(zhí)著。

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As previously mentioned, it is possible that Hoyo is treating Genshin as a look into what would have happened in Honkai Impact if Project Stigma had not been abandoned for an alternative solution. However, Genshin has no explicit mention of anything akin to the Honkai threat, which is the threat that actually prompted humanity to turn to Project Stigma in the first place. The closest thing we have to this is Forbidden Knowledge, which is likened to a poison by characters like King Deshret. You could make a case for Forbidden Knowledge to be similar to Honkai energy because some of the effects overlap, but it's a pretty weak argument overall.

前面提到，米哈游可能想用原神來做個實(shí)驗，看看假如崩壞3的“圣痕計劃”沒有被另一個方案取代，結(jié)果會是什么樣的。然而，原神沒有明確提到任何類似“崩壞威脅”的東西，而正是這個威脅才使人類開啟“圣痕計劃”。原神與它最為接近的是“禁忌知識”，在赤王等人看來，它就像是毒藥。你可以說“禁忌知識”類似于“崩壞能”，因為它們有一些相同的效果，但這個觀點(diǎn)沒多少說服力。

按：赤王將禁忌知識視為毒物，見于赤沙之杖故事等處。

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However, beings like dragons in Teyvat seem to have some level of resistance and even some compatibility with Forbidden Knowledge as they are able to digest and utilize it in small quantities. This is something that humans cannot do; they just get Eleazar. But their natural, albeit minimal, compatibility with Forbidden Knowledge makes sense because dragons were in Teyvat before humans were even a thing, and we know that Forbidden Knowledge existed all the way back then. So one therefore has to wonder if Forbidden Knowledge made Teyvat hostile to humans, then why did the Primordial One try to rebuild Teyvat for humans? Why not just go somewhere else?

然而，在提瓦特世界中，龍這樣的生物對禁忌知識似乎有一定程度的抵抗力，甚至能與之兼容，可以攝取和利用少量的禁忌知識。人類就做不到，他們只會得魔鱗病。雖然龍能利用的禁忌知識很少，但它們天然與之兼容倒也頗為合理，因為龍在人類出現(xiàn)之前就在提瓦特生存，而那個時候禁忌知識就已經(jīng)存在了。因此，我們不禁思考，如果存在禁忌知識的提瓦特不適合人類，那“原初的那一位”為什么要為人類重建提瓦特呢？它為什么不去別的地方呢？

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And I think the answer to this is that humans are a native species to this planet. I think that at one point in time, Teyvat was actually Earth, and that a great disaster involving Forbidden Knowledge took place that wiped out most of the humans. The few who survived morphed and mutated into new forms, probably into dragons. This isn't as big of a leap as you might think it is because this is something that Honkai energy can do in Honkai Impact. It can turn humans into Honkai beasts. That means that the Primordial One likely created Irminsul as a means to restart human civilization without having to worry about the corruption brought forth by the remnants of that Forbidden Knowledge disaster. It would allow humans to maintain their human form without mutating into monsters or dragons.

我認(rèn)為這個問題的答案是：人類是這個星球的本土物種。我認(rèn)為在很久以前，提瓦特其實(shí)就是地球。當(dāng)時，禁忌知識引發(fā)了一場大災(zāi)，殺死了大部分的人。幸存下來的少數(shù)人發(fā)生變異，演變出了新的形態(tài)，可能就是龍。這種變化并沒有你以為的那樣跳脫，因為在崩壞3中，崩壞能可以將人變成崩壞獸。于是，“原初的那一位”可能因此創(chuàng)造了世界樹，準(zhǔn)備用它來重啟人類文明，而不必?fù)?dān)心那場禁忌知識大災(zāi)難的遺留物會帶來腐蝕。它使人類能夠維持人的形態(tài)，而不會變異成怪物或龍。

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But restarting human civilization means that there was a human civilization before all of this nonsense. And you know, something, I think there were a few survivors from that civilization. specifically, the twins. There are basically two things that we know about the twins. One is that they are indeed twins and therefore related by blood or construction, depending on your opinion. And the second is that one of them is a descender.

重啟人類文明，說明在這片狼藉之前存在著人類文明。你們應(yīng)該也知道，我認(rèn)為那個文明可能還有幸存者。具體而言，就是雙子。關(guān)于他們，我們大體上知道兩件事。一是他們的確是兄妹，因此要么是血親，要么身體構(gòu)造有所關(guān)聯(lián)，看你喜歡哪種解釋了。再就是他們之中有一人是降臨者。

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Now, back in part two of the series, I argued that both twins were descenders and that both were native to Teyvat. You can watch that episode for a full argument, but I still think that the arguments I made there hold true even though Nahida says that the sibling belongs to Teyvat while the traveler does not. The thing is, Forbidden Knowledge is connected to the abyss, and we know from Rene's notes that Abyssal energy and all the stuff associated with it possess a higher level of authority when compared to elemental energy. Now, whenever Hoyo refers to Authority as it relates to Plato's theory of forms, it's referring to the scope of powers or control that someone has. Remember that forms are merely concepts that split into smaller, more specific concepts. One might start as having the authority over dust, but as their authority increases, they may gain control over sand, then stones, then all solids, right? The highest authorities here are the ones of the four Shades: Life, Death, Time, Space, and eventually the Primordial One's Logos.

在本系列的第二部里，我論證了雙子都是降臨者，而且也都是提瓦特本地人。詳細(xì)論證請移步那一期視頻，盡管納西妲說了血親屬于提瓦特，而旅行者卻不是，但我認(rèn)為當(dāng)時提出的論點(diǎn)依然成立。要點(diǎn)在于，禁忌知識與深淵有關(guān)，由雷內(nèi)的筆記可知，與元素能量相比，深淵能量和與之相關(guān)的一切事物具有更高的權(quán)能。米哈游但凡提到與柏拉圖理念論相關(guān)的“權(quán)能”，指的都是某人擁有的權(quán)力或控制力的范圍。請注意，理念只是將概念分割成更小、更具體的概念。某人最初可能擁有塵埃的權(quán)能，而隨著權(quán)能增加，他或許能進(jìn)而控制沙子，然后是石頭，最后是所有固體物質(zhì)。最高的權(quán)能是四影的權(quán)能——生、死、時、空，最終是“原初的那一位”的“理”。

按：雷內(nèi)的筆記只提到“相比于元素力，靈光的力量反而與██有更多相似之處…”，Ashikai 應(yīng)該還參考了沙漠中的“怪異的抄本”：

【字跡潦草的抄本，不知從何處謄抄而來?！?/span>

…此地所獨(dú)有的，被當(dāng)?shù)厝朔Q之為「靈光」的神秘力量，雖然無人知曉其真正的來源，但從其能清除乃至逆轉(zhuǎn)深淵的影響（實(shí)則是一種湮滅反應(yīng)）來看，二者在規(guī)則上或許可以說處于同一位階…

…換言之，二者都具有「改寫規(guī)則」這一層面的力量…

…可悲的是，無論是深淵還是靈光，目前看來其使用者都還停留在受其力量影響而反被其所改寫的「無意識」階段…

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With this in mind, the siblings' actions start to make sense. The abyss isn't an evil power; it's just power. And if the sibling wants to engulf the Thrones of Heaven, they will need access to more power and gain more authority. Abyssal energy has the ability to do that for them.

順著這個想法，血親的行動就變得合理了。深淵并不是邪惡力量，它只是一種力量。如果血親打算奪取天上的王座，就需要更多的力量和更高的權(quán)能。深淵能量可以為之提供助力。

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So, I think the sibling started off just like the traveler, but upon realizing their innate incompatibility with Abyssal power due to the fact that they're from a previous civilization that probably got wiped out by it, they realized they needed to change their physical form to adapt. This meant becoming a part of Teyvat's world, becoming a concept within Irminsul, and then seizing Abyssal Authority for themselves.

因此，我認(rèn)為血親一開始也和旅行者一樣，但隨后意識到自己來自被深淵夷滅的舊文明，因而先天就不兼容深淵，所以血親認(rèn)為必須改變自己的身體形態(tài)來適應(yīng)深淵的力量。于是血親成為了提瓦特世界的一部分，成為了世界樹里的一個概念，隨后便前去奪取深淵的權(quán)能。

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And Khaenri'ah probably played a huge role in that. We don't seem to talk about this much for some reason, but we know that Khaenri'ah possessed the ability to peer beyond the veil of the sky, and on the other side, they found advanced technology that they studied to further their own technology. This reeks of Plato's allegory of the cave, wherein Khaenri'ahns are the ones who looked outside of the cave and now wish to be free after seeing the true reality on the other side. For them to pin their hopes on the twins, who were already free, who aren't bound by Irminsul and its laws, just makes sense. Especially if you remember back in episode 2 when I talked about the twins being akin to Lucifer, whose name means lightbringer, like the person who left the cave, got blinded by the light, and then came back in to bring the light to the rest of the prisoners.

坎瑞亞可能在其中發(fā)揮了重要作用。由于種種原因，我們很少討論這件事，但我們知道坎瑞亞擁有窺探天空之外的能力，他們在天的那一邊發(fā)現(xiàn)了先進(jìn)的技術(shù)，并在研究之后推動了自己的技術(shù)。這讓我想起柏拉圖的洞穴寓言，坎瑞亞人是那些見過洞穴之外的人，他們看到了另一邊的真正的現(xiàn)實(shí)，希望獲得自由。于是，他們將希望寄托在不受世界樹及其法則的約束、已經(jīng)自由的雙子身上，也就說得通了。不知你們是否記得，我在第二部視頻里談到雙子相當(dāng)于路西法，這個名字的意思是“光明使者”，就像那個離開洞穴、被陽光照得目眩，然后回來給其他囚徒帶來光明的人一樣。

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And I really think that's the whole point of the game. Khaenri'ah wants to be free at all costs, but the Primordial One has no intention of letting humanity free of its protective cradle, and everyone else is just caught in the middle. And we already know how this ends. We know that the twins are the last descendants of a subjugated civilization, that the traveler is supposed to ascend to the throne of the Primordial One and take their place, and make that choice of freedom for the people of Teyvat. But the consequences of that choice, well, let's just say I predict a lot of dragons in the future.

我真心認(rèn)為這就是原神的內(nèi)核?？踩饋啚樽杂啥幌б磺写鷥r，但“原初的那一位”不打算讓人類擺脫它的保護(hù)搖籃，其他人則夾在二者中間。但我們已經(jīng)知道這個故事的結(jié)局。我們知道雙子是某個已覆滅文明的最終后裔，知道旅行者大概會登上“原初的那一位”的寶座并取代它們，為提瓦特人做出“選擇自由”的決定。但這個選擇的后果嘛，我只能說估計會出現(xiàn)很多龍。

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Stick around for part two to find out why. Yeah, yeah, I know, splitting a theory like this into two parts feels really bad, but trust me when I say it's definitely necessary. Not just for my own editing comfort, but for the ease of explanation. It's just too confusing if it's all together. In part two, and also the final part of the series, I swear it's for real this time, I will explore the alchemical side of things rather than the philosophical world-building. We're going to talk about energy, memories, the magnum opus, and the truth about humanity's connection to the dragons. You will not want to miss this theory. It is the crappiest video in this entire series, and I've made some pretty bold claims so far, so that's a pretty big statement.

欲知原因如何，請聽下集分解。嗯，我知道，分成兩集的觀感很不好，但請相信我，這是必要之舉。不僅剪輯上更輕松，解釋也更容易。如果把所有內(nèi)容一股腦拋出來，就太亂了。在第二集，也就是本系列的最后一部視頻里——我保證是真的最后一部了——我不會再說哲學(xué)上的世界構(gòu)造，而會探討事物在煉金術(shù)方面的性質(zhì)。我們將討論能量、記憶、“杰作”以及人類和龍的真正聯(lián)系。我敢說，你一定不想錯過這個猜想。它是整個系列當(dāng)中最炸裂的視頻，而目前為止我也提出了不少非常大膽的觀點(diǎn)，所以它會是一場相當(dāng)龐大的論述。

按：“杰作”指煉金術(shù)的煉造過程，尤其是制作哲人石的過程。

Anyway, if you're still here, thank you so much for watching. And if you're a channel member, you've probably spotted your name scrolling past you on the screen right about now. I think that's a pretty cool thing, right? Knowing that you helped to make this. I mean, I think it's pretty cool. But yeah, so, thank you once again. It is almost Dragon time, so take care of yourselves. Make sure to get some water and some rest and some food. And I will catch you guys in the next one. Take care.

無論如何，如果你還在這里，那么非常感謝你的觀看。如果你是頻道會員，或許已經(jīng)看到你的名字在屏幕上滾動了。感覺很棒，對吧？知道自己對于制作這個視頻有所幫助，我覺得這感覺很不錯。總之，再次感謝你。馬上就是龍的時間了，照顧好自己吧。多喝水，多休息，多吃東西。我們下期再見，保重！