Definition
A fictional reference to physicists who proposed the "holographic universe" hypothesis; not a real person, but a stand-in for the scientific idea.
A fictional reference to physicists who proposed the "holographic universe" hypothesis; not a real person, but a stand-in for the scientific idea.
Definition
A fictional reference to physicists who proposed the "holographic universe" hypothesis; not a real person, but a stand-in for the scientific idea.
After the wire-hanger ambush of last chapter, Li Huowang finally gets his video call with Qing Wanglai—the mysterious "normal person" Qian Fu dug up. But "normal" is a very relative term in *Dao Gui Yi Xian*. What starts as a pragmatic discussion about getting Li Huowang out of surveillance quickly spirals into a full-blown philosophical confrontation about the nature of reality. Qing Wanglai drops a holographic projection hypothesis that sounds suspiciously like something Li Huowang has heard before, and Yang Na—our gentle, modern-world anchor—erupts into a sharp-tongued intellectual brawler. This chapter isn't about flesh-and-blood monsters; it's about the terrifying possibility that *we* are the monsters' shadow on the wall.
Get ready to flex your brain, fellow Daoists. This chapter is a pure, uncut **philosophical slap-fight**. No monster attacks, no self-mutilation, no escape. Just Li Huowang, a polite stranger with a holographic universe theory, and his girlfriend turning into a ferocious science defender. The horror here is not in the visuals but in the *implication*: if Qing Wanglai is right, then everything Li Huowang has suffered—his schizophrenia diagnosis, the Azathothian horror of the Siming—is not a curse but a *leak*. He is a shadow that briefly touched the wall and saw the light source. Pay close attention to Qing Wanglai’s headache and pill-taking. This is not just a lecture; it’s a performance of a man who has been *broken* by the truth he is trying to describe. Also, Yang Na. Watch her. The fierceness she shows here is not just "girlfriend defense mode"—it is the voice of Wusheng Laomu’s projection refusing to accept a reality that diminishes her own significance. When she demands proof, she is not being a skeptic; she is being a god who refuses to be called a lie.
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