Well, this chapter is actually a comprehensive explanation of the setting of "Shirou = Su Hu Wu Zun", including the foreshadowing there, how to interpret them, where this setting is consistent with the myth, how to explain where it does not coincide, and so on. It's long and cumbersome, so be careful when you watch it. In addition, I do not recommend that readers who have not yet finished reading the fifty-third chapter of the third volume click in and read it.

Before I go into this, I would like to emphasize again that the position adopted in each book is that the truth of myths and the current accounts are more or less different from those that have been passed down for thousands of years", which simply means that only myths and stories are used selectively

Foreshadowing one: the basics

First of all, in terms of foreshadowing, to be honest, before the third volume, Shirou's foreshadowing was relatively subtle (but there were quite a few of them). Only by connecting them in series can it be vague, but it is more certain to guess that Shirou is the former Su Wu Zun. And to guess that Shirou is Su Ji Wu Zun, the most important thing is to guess that the knife in his hand is the cloud of the sky (this is because as long as you can guess that the knife is the cloud of the sky, then no matter what, the corresponding character is only Amaterasu Daigojin in addition to Su Ji Wu Zun, and the former is a man, the latter is a woman, because of the relationship between gender, the latter has a better chance of being out)

First of all, not in chronological order, but in terms of relevance, the first foreshadowing is in chapter 9 of the second volume. There, Shirou's homemade long knife is described as "(temporarily) nameless", "elite in the Noble Phantasm", "possessed divinity", "has the effect of destroying demons", and the two most important points are "It is not a copy of others, it is a weapon that truly represents itself" and "It will one day be famous in history, celebrated by others, and become the treasure of GaeBoll who even surpassed the great hero Cú Chulainn." ”

In this chapter, it is vaguely pointed out that although this knife was made in Shirou's hand, it seems from the timeline that it was actually famous long before Shirou made it (as for why it will not one day be famous in modern times after the knife was made, it is because in modern society, people generally do not have illusions about swords, let alone praise them, and Shirou can never expose the things of this world to the modern world and leave a name in history, so this statement can be overturned), And it's a treasure that surpasses GaeBolg. Considering that the legend of Cu Chulainn itself has a mythological nature, and Red A has commented that Cu Chulainn's moves have long surpassed Odin's spear in Norse mythology: Gungnir, also known as Gungnir, so it can be concluded here that this knife must be a product of past mythology (corresponding to divinity and beyond the setting of Odin), and at the same time, it also implies that Shirou will return to the past sooner or later.

In addition, there is another point here that corresponds to Japanese mythology, and that is the setting that the sword is silver-white.

According to the Jade Signature Collection, the priests' description of the clouds in the sky is that "the blade of the blade looks like an iris and the leaves are white from top to bottom." ”

Combining the two: it is not only famous in the past (mythology), but also an artifact that surpasses the god Odin, and it is also a white Japanese sword with demon-destroying properties rather than other distinct attributes. Among the three divine swords in Japan, the Budu Imperial Soul is the sword of thunder, and the ten grips are broken swords with no specified color, and I am afraid that only the clouds of the heavenly plexus can meet them.

As for the distinction between silver and white (i.e., silver mixed with a little iron), in fact, according to scholars, it is due to the omission of the priests. This is because, according to archaeology, the clouds of the sky (referring to the real one) are supposed to be iron swords, but they are mixed with something else (such as tin) to give them a white appearance. Therefore, this also proves that the silver-white theory is actually justified

Foreshadowing two: steady dìng

Overall, Chapter 9 of the second volume lays the groundwork for guessing that the sword in Shirou's hand is the Celestial Cloud. And after that, there will be intermittent different chapters that echo this foundation and make it more stable (because my memory is not very reliable, and because of the divinity, for example, the silver-white ones are too fragmented, and I am afraid that there are more than ten chapters to list, I will only list the key ones).

The first echo is chapter 41 of the second volume. There, Lori pointed out a very important point, that is, "Shirou's rescue of Zhu Yue is actually the creation of existing history". On the surface, this sentence is to say that the next move to save Zhu Yue is reasonable, but at the same time, it also hides something that can echo the ninth chapter of the second volume, that is, Shirou is actually the existence of reverse cause and effect. Even if things happened in the past, and Shirou is still living in the present, it doesn't mean that he can't go back to the past in the future, directly echoing that "it will one day leave a name in history and be celebrated." This sentence rationalizes the possibility that Shirou will return to the past to fight the Yachiji Orochi in the future.

The second echo is Chapter 117 of Book II. There, Zhu Yue's evaluation of Shirou's knife was "If you can exert your real strength, then it won't be Niang Shanshan who can resist it", and Niang Shanshan didn't answer Zhu Yue positively in the end, which was equivalent to acquiescing to her statement. With the many defensive treasures in the treasure house, according to the mushroom, even the strange things such as the multi-dimensional twists and turns can be blocked, so it can be inferred that the defense power of the defensive treasures in the treasure house is not low. However, if Shirou's sword can exert its true power, it can't even block the defensive treasure in Niang's shining treasure house, which reflects the strength of the sword. In addition, Niang Twinkle has said that "before her sword, there is no guy who can match." It goes without saying that the sword points to the EA (obedient sword), but if you think about it carefully, you will find a suspicious place. With Niang Shining's arrogant character, if she could not only outperform the sword in Shirou's hand in her treasure house, then she should have said, "Why is it difficult to compare to this broken sword?" There are many such things in the treasury of this king. Or, "Even if there is no means of defense, there are many weapons in the king's treasury that are better than this sword." However, she just said that EA (obedient sword) will be stronger than the sword in Shirou's hand (in fact, there is also an element of not admitting defeat here, but because it does not involve the theme, it doesn't matter here), secretly reflecting that not only defense, but also the treasure of Shiro's sword, in the treasure house of Niang's shining only EA (obedient sword). With this, it is even more prominent that Shirou's sword is at least the level of the Oath Sword, echoing the Noble Phantasm of GaeBoll who will one day become or even surpass the great hero Cú Chulainn in Chapter 9 of Book II. ”。

The third echo is more extensive, and that is Shirou's role as a magician of time and the relevant chapters on the success of the time. The echo is the same as the first point, but further rationalizes the possibilities.

The fourth echo is in principle similar to the third point, but it has an additional meaning, that is, in chapter 123 of the second volume. There, through the mouths of Gaia and Alayya, on the one hand, it is certainly explaining that the action to rescue Zhu Yue is legitimate, but on the other hand, it is also legitimizing the future fulfillment of the myth of Su Hu Woozun. In fact, this can be guessed from the superfluous dialogue at the end of this chapter, "Although it will not be used often, you will not have to worry about it when you cross in the future, and you will really be saved". Shirou's sigh, in fact, Xia Qi relieved himself to fulfill his promise to his mother, and at the same time laid the foundation for the future fulfillment of the myth of Su Ji Wu Zun

Foreshadowing Part 3: Reverse Cause and Effect

Combining the above two categories of foreshadowing, the setting of "Shirou = Su Rong Wuzun" has basically emerged dimly. At this point, it is finally possible to connect the foreshadowing of reverse cause and effect and make a chain, detailed timeline explanation of "Shirou = Su Ji Wu Zun".

Has the ability to forge weapons (mentioned in the earliest version of the character card) - > wants to use a long knife and why it is (Volume 1, Chapter 2) - > continues to use dual knives but is beaten badly (Chapters 56-64 of Volume 1) - > wants to use a long knife even more, so he simply forges it himself, and with the cooperation of Orange Aozaki and Valazia, he forges his own treasure after more than a year (Chapter 9 of Volume 2) - > has been fighting with its projections (never stopped since its debut) - >Return to ancient Mesopotaya and receive the task of slaying the serpent at Iai, officially fulfilling the myth of Suhuzun (Chapters 43-53 of Book III)

This is followed by Q&A time, and the questions are provided by the book reviews of several readers and the author's self-extension~

Q1: According to legend, Su Ji Wuzun held the Ten Heavenly Grip to slay the Yaqi Snake, and only after the fact did he pull out the clouds of the Heavenly Cong from the tail of the Yaqi Snake. Now that Shirou was already holding the clouds of the sky before he met the Yagi Orochi, wouldn't it contradict the myth?

A1: That's why I've been emphasizing the selective use of myths (which has been mentioned more than once in previous chapters).

In this book, there are two kinds of gods, the innate and the acquired, of which the acquired nature is mainly based on the spread of myths and people's beliefs, and Shirou is the acquired god. Given the loss and error of the texts, and the rarity of the original texts, the myths that circulate are not necessarily true.

A similar example of this can also be found in the setting of Mushroom, just like the Silly King in the main story of FATE, Mushroom has said that "if she becomes a Heroic Spirit after death, then Arthur will appear as the male Arthur they imagined." Considering that the Kojiki (i.e., various myths) in Japan are far older than Arthur, and even the accounts of King Arthur may be different, it is only natural that there will be mistakes in more distant myths.

So, if you put it together, the mythological prototype of Susa Okami in this book is like this:

Shirou fights the snake - the knife projected in > hand sticks into the tail of the snake and breaks off - > takes the real thing out and continues to fight

However, since there were only three people who witnessed Shirou's battle (one of them was a voyeur so it can be ignored, and the other two were the concubine sisters), and it was the concubine sisters who did not fall into the ground with Shirou who spread this story in the future. Not only did they pass on the story by word of mouth, but they also did not witness Shirou's battle, so the truth was first distorted like this:

Shirou fights with the snake - > the knife breaks, and the serpent's tail sticks a severed knife in his tail - > suddenly there is an even more powerful knife and continues to fight

Then, with the continuous circulation, the continuous deification, Shirou's strength was exaggerated, and he became farther and farther away from the original truth. Later, it became:

The god fights the snake - > takes the original knife and kills the snake, but the knife breaks - > finds a new artifact in the tail

The keywords have not changed (two knives, and a tail), but the process has completely deteriorated. That's probably how it feels

Q2: Why is Sumerian mythology related to the myth of Japanese Shintoism?

A2: As for why it can be extended from Sumerian mythology to Japanese Shintoism, it is actually an extension of the mushroom setting.

According to the setting of the mushroom himself, the treasure house of the hero king has a treasure of all the heroes, and after his death, the treasures spread to various places, and then different heroes achieved one myth after another after obtaining them. Specific examples include Hercules' shooting of a hundred heads (referring to the real one) in Greek mythology, and the oath sword of the Dull King (one said, the original text is the sword of the sun, and in the world where the fantasy of the moon can also come true, it is "supposedly" is likely to be a fact, or become a fact. ), Lü Bu's Fang Tian Halberd, the weapon of the god of thunder in Hindu mythology, the magic sword of the Nibelungen in Norse mythology, and so on. As a corollary, Sumerian mythology is theoretically earlier than all other myths in the timeline setting of the Moon, and is more or less related to all myths and heroic deeds.

So I made an extension and an extension setting based on this basic setting:

First, the three artifacts of Japanese Shintoism - sword, mirror, and jade are likely to have come from Sumerian mythology in the beginning.

Second, although the three artifacts of Japanese Shinto - sword, mirror, and jade themselves are all high-level treasures, if they were not enhanced by the deification of later people, they would not have reached the level of god-made armor, so they were still within the range that Niang's shining treasure house could bear.

Based on the premise of these two extended settings, Japanese mythology can also be related to Sumerian mythology, and my premise is based on this. So although there may be discrepancies in the details (in the end, only the mirror is really from the treasure trove of Niang Shining), but this is generally the feeling

Q3: In the myth of Suku, he is not only fierce, but also the god of the sea and the god of storms, which seems to be not very similar to Shirou's personality and abilities?

A3: The reason why Shirou's mythological image becomes a bit fierce is actually due to Shirou's unyielding fighting spirit when he fought with the Demon Snake.

Let's not talk about the concubine sisters and brothers who were present, if you just listen to the story and tell you that when a guy fights, his left hand is disabled, his right foot is disabled, and his left eye and left ear are destroyed at the same time, but even so, he still fights.

The feeling of belligerence > the feeling of guarding

As a result, it is easier to go from real protection to belligerence, and from belligerence to ferocity.

As for the latter, in this book, the god of the sea and the god of wind and rain were added by later generations when they were deified. After all, as one of the three most important gods in Japan, Amaterasu must be the sun, fire, etc., and the moon reading must be night, darkness, etc., and only Shirou has no corresponding function, so in order to make the myth more perfect (make up the number), later generations have added some of the original abilities about Yagi. That's probably how it feels

Q4: Anyway, seeing respect on a moonlit night is not only a man, but also a lot of times the image is either a real mother or a pseudo-mother, isn't it more in line with Shirou's setting?

A4: Honestly, it's pretty simple why you don't use the setting of Seeing the Honorable on a Moonlit Night, because he's too Akalin.

When I watched "Kojiki", I always thought that this second-ranked guy was a tragedy, and he was exiled by Amaterasu after spitting out food.,Since then, he hasn't appeared again.,Nominally the second among the three nobles.,In fact, it's the most zài.。

In other words, apart from making up the numbers and explaining the moonlit night, does he really have zài value? It's too hard to get Shirou to become him, and there's no point in changing

Q5: By the way, since Shirou returned to his hometown after slaying the snake, what happened to the legendary Ki Inada Ji who married him?

A5: There are actually two different ways to explain this in this book, and it's up to you to decide which one you want to use.

The first term is simply "the perfection of the myth". In the original text of Su Ji Wu Zun in this book, in fact, the end is just "The girl returned to her own home, and the people lived happily ever after." "That's it. However, the ending here is not perfect, and there is no description of the girl's life after that, nor is there any mention of the whereabouts of Su Jiwuzun, who killed the Yagi Orochi. So, how did this beautiful girl end? Where did Su Ji Wuzun go after killing the Yaqi Orochi?

Based on the regret of the ending, but also with admiration and fantasy for the heroes (gods) of the past, the descendants took the initiative to supplement the story (myth), giving the girl the name of Ki Inada Hime, and then letting Su Ji and this beautiful girl marry to create a truly perfect ending.

In fact, it is not uncommon for folks to supplement previous stories. As far as China is concerned, for example, Xu Zhenqing's "Jian Shengye Wen" puts forward a narrative statement on Xu Da's death, and Ouyang Xiu's "New History of the Five Dynasties" ignores the authenticity of history for the sake of edification, and makes unreasonable harsh criticism and speculation on the story of the five dynasties. Although, in reality, mythological stories are a bit different in nature from historical stories and cannot be generalized. However, most of the myths in Gai Xingyue's worldview are real, and this book follows this premise, so in this worldview, myths are history, so it is not unreasonable to apply the above examples.

Moreover, even ignoring the above examples, it is reasonable and understandable to add to them, given that mythological stories are often more incomplete than historical stories, and that they were originally circulated mainly by oral accounts.

The second argument is a bit more of that (although I prefer it). That is, a certain person who is very important in the myth (I won't mention the name, although it makes no difference whether he says it or not) after making his own story in the future, modifies the legend of Shirou and alludes to the ending he hopes for on Ki Inada-hime.

Well, how to say it First of all, just imagine, a girl under the age of twenty will have more or less fantasies about Prince Charming in her heart, plus she has to live in seclusion in the mountains and forests all the time, and she has never seen any men except her younger brother In this case, she suddenly met a boy who looked impeccable (first of all, you have to understand that when you have fantasies about love, a girl's perspective will be a little different from ordinary people), and it is also very common to have a good impression.

Also, I have to say that although the drawbridge effect is very common, it cannot be denied that it can basically be said to be tried-and-test. In order to save the girl and fight with the monster bloodily, even to the point of cripplement, he still did not give up, and tried his best to kill the monster regardless of the subjective intention, from a calm point of view, what a handsome and romantic mythical story!

Although, as the girl grows older, she will gradually understand that there are many explanations for the bloody struggle of the "hero" at the beginning, not necessarily so romantic as it is completely to rescue the girl, but in fact, it is undeniable that the "hero" rescued the girl.

In addition, it is the so-called seeing things and thinking about people. At the beginning, "In the future, this sword will be with your fate." How you use it, and where you use it, it's up to you to decide. Hopefully, in the future, this sword will be a blade for you to open up your path. How impressive the words are (I think, in fact, why do you use this tone, you should also guess it~), and in the girl's future story, the mirror and the sword did save her again and again, and finally directly caused the girl to become a godhead, and let her myth be passed on to future generations. Therefore, here, although Shirou did not come to save the girl again and again, it is undeniable that if it were not for the sword and mirror of the original "hero", the girl would have died early in the morning.

Combining the above points, the perfection of the object + first love + drawbridge effect + heroic battle + good memories + seeing things and thinking about people. It's basically self-evident that girls will like "heroes". And in general, if time does not dilute the emotion, then the emotion will become stronger (such as hatred is also a manifestation), since the "hero" gift is always with him, then it is needless to say which one the girl will gravitate towards.

However, liking is one thing, reality is another. It is a fact that the "hero" no longer exists, and the girl can't find him, so she has to take the continuation of the story as her own expectation. This is the second statement

Q6: Anyway, since the sky is not right. Well, if that goddess likes "hero", why add the setting that "hero" is a sister?

A6: This can be explained by the "perfectionization of myths".

It must be known that the girl will not express her gratitude in her heart, and future generations will naturally not know her thoughts. In particular, after the appearance of the name of Qi Rice Field Hime, it is even more impossible for future generations to know the true thoughts of the girls in the past. Think about it, since the girl has become the highest faith of the people of the place in the future, it is only natural that future generations will want to shape her story more perfectly.

On the premise of not knowing the feelings in the girl's heart, if you want to absolutely deify her, the best thing is to link all the important things with the girl. The feat of slaying the snake seems to be separate from the girl's story at first (after the name of Ki Inada Hime) appears, but if the identity is a sister, then there is no doubt that the feat of slaying the snake will be related to the girl, or the gods led by the girl, and make the myth more complete.

Of course, this qiē was all done by later generations, and the girl herself was of course unaware, or she didn't know how to react when she knew

Q7: Continued, why didn't Amaterasu Daigojin and Moonlight Mizun be gods with a high status at the beginning, according to the Kojiki? And was saved by Shirou?

A7: This is because I wanted to adopt one of the settings of the mushroom, which is that the so-called gods are probably just capable humans in the beginning. After many things have happened, they have left a name (or notoriety) in history, and gradually they are praised (or revived), and finally, through fantasy and belief, history becomes myth and unreality, and the present human gods will become real gods, and the brutal people will become real demons. At this point, there are many negative examples, such as Vlad III's demonization of Vlad III, Elizabeth Barthori's monstrification, and Medea's witchification (mainly the ugliness of character) in the FATE series. Anyway, I can't think of a positive example for a while, but if I have to say, Angela Manuel is a good example of being deified.

From this point of view, even fantasy can deify people, let alone those who already have a high godhead in the first place. Therefore, following this setting, in this book, Amaterasu and Moonlit Night are set as gods who are a mixture of nature and nature.

Of course, I don't deny that this setting was actually influenced by other works as well. It's said that there is something similar to the Demon Forbidden.,But I've basically given up when I only read about less than half of the Old Testament.,So there's something related to the Demon Forbidden in that volume.,What really influenced me to make this setting.,Mainly from some Eastern fandom explanations of the origin of the Leaky Ya Suwako.,Okami and FATE.

Q8: Myths aside. After Shirou becomes a god, won't his strength be too strong? You know, author, you don't seem to like invincible streams, right? And the purpose of this book doesn't seem to be invincible.

A8: Let's put it this way. It is undeniable that after the third volume, Shirou's strength has reached a very strong Cheng dù. But I have to note that I'm not as powerful as Moonfall Sauce, my perseverance is not as strong as his, and the main line of this book is not so much. Actually,There are only five volumes in this book.,There's only one main line in the fifth volume.,There's only two main lines in the fourth volume.,In terms of the number of main lines.,The book is almost over.,There's no reason to end the main character or the type of complete fighting, right?

In addition, my consistent view is that strength is not absolute. In different environments and situations, the situation of the strong losing and the weak winning will still occur. So even if Shirou's basic strength becomes very strong, it doesn't mean that he won't be defeated.

In addition, there is one more thing to note. It's Shirou's limitation, you must know that Shirou didn't suddenly become a god after killing Yagi, but became a god based on people's beliefs and fantasies after returning to modern times (of course, he also has a strong strength in his own right). So, to put it simply, Shirou's strength is geographically limited, if it's in Japan, his strength is enough to fight UO head-on, but if he goes out of Japan, his strength is probably only the level of Niang Flash's full attack. Of course, one day, he will become stronger than UO, but unfortunately, that will happen after the end of the book

Pretty much done.

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