I'm trapped in a block

Chapter 1283 Painting

After the funeral, Mo Ling returned to the square and watched the sunrise and sunset, and the changing seasons.

He had forgotten how long he had been there.

Time, in his view, flows at different speeds.

Just like a river that sometimes flows fast and sometimes slow, while his gaze is fixed on something, the river has already flowed by without him noticing.

He seemed to understand why Martin had wanted him to see the world more clearly...

Beneath the events that have happened, are happening, and have yet to happen, lies the essence of this world.

These are things that others cannot perceive; only he can.

His vision was not merely "seeing," but rather a mastery of this space.

Because he controlled this space, he was able to know its information; however, his habitual human thinking led him to believe that he "saw" all of this.

Seeing and controlling are completely different things.

"Look" only captures a shadow of information, while "control" means that one already possesses that information.

The things that exist in the present moment are the outermost layer of information; they are things that can be perceived by humans and are also the appearance of matter.

Beneath the surface of things lies a fluid system of rules; the thermal motion and forces of molecules regulate this world and maintain the stability of all things.

Further down, below the physical rules, lie different times: the past that has already happened, the present that is happening, and the future that has not yet happened. They all exist together in the same place, in the same location.

This location is space, the purest space.

It was a blank sheet of paper.

Mo Ling was focused on the paint on the painting, unaware that the canvas had already been held in his hands.

Why can he use teleportation?

Through repeated experiments, Mo Ling discovered that this was the ability to move the drawing paper. When a hole appeared in the drawing paper, the paint, decorations, and dust on it would all disappear.

He had already taken control of that part of the space; the so-called teleportation was simply "moving" them to a suitable location.

That is, instinctively bringing the drawing paper from a distance to your eyes.

The ever-expanding field of vision is merely the extent of its control.

These things can only be gradually understood after one starts to appreciate the "painting," which is why Martin encouraged him to look at it carefully.

"At first, I just thought the painting was beautiful. But after looking at it for a while, I started to analyze the scene layout. After analyzing the layout, I started to study the color distribution and the changes in color."

"Then I discovered that the so-called shadows, shapes, and layouts are nothing more than changes in color, and colors are made up of pigments, with specific pigments expressing specific colors."

"At this point, the level of appreciating a painting changes from simple enjoyment to an analysis of the painting techniques..."

Mo Ling originally only knew how to "appreciate" this world.

Even if he had the painting in his hand long ago, he would only move the paper roughly.

That was an extremely clumsy form of control.

He had to learn how to analyze those chaotic colors and try to "paint" them himself to understand how the paints were layered together.

……

On the pure white canvas, Mo Ling painted the changing seasons and the passing of life. These are things that can represent time; they truly exist and are the reason why space no longer stays in one place.

Beyond time, Mo Ling used her paintbrush to create pixels, which are the particles that make up matter. They are tiny, but when they come together, they can form beautiful colors.

Finally, pixels are arranged to form a reasonable scene, and particles are aggregated to form specific substances. This is the part of the painting that is presented to "outsiders".

Mo Ling didn't have any paints; he had brought them from somewhere else. All he had was drawing paper.

After he finished a painting by his own hands, he seemed to understand the meaning of the cubes' existence...

The squares resemble paperweights pressed onto the drawing paper.

For paintings, paperweights do not exist.

It is not in the painting, nor on the paper, but it exists, existing in another dimension.

The weight of the paperweight is enough to hold down the drawing paper, and also enough to tear it.

To this world, the cube is "empty." The people in the painting cannot see the paperweight, nor can they feel its weight.

Paperweights don't necessarily have to be specific objects; they just need to hold the paper down. Paperweights don't have a fixed shape; they can be squares, balls, metal, or even flesh and blood.

This is why people in those research institutes keep saying that "the cube is just an external manifestation."

A block doesn't have to be a block.

A block can just be a block...

Mo Ling obtained the paperweight, or rather, he was the paperweight, but the previous Mo Ling had never properly understood his own existence.

The cube can exhibit different properties depending on his intention, not because the cube possesses such properties, but because—

The block was never defined.

Mo Ling suddenly thought of the golden world Martin had described.

"Is Xin Jin's 'wish fulfillment' really just 'wish fulfillment'?"

That seems to be a process of gradually increasing "influence".

Xin Jin is adjusting its position according to people's imagination, gaining the ability to "suppress the painting".

The Heart Gold did not originally exist; it was like a paperweight placed far away. At that time, it might not have been called a "paperweight," but simply an object with weight.

But a gust of wind blew, and the world became unstable, causing the drawing paper to float away.

To ensure stability, a paperweight had to be brought from a distance and placed on the drawing paper.

The hollow force Martin felt was like a paperweight that suddenly appeared, without any reason, bringing an unimaginable force that slammed the fluttering drawing paper hard onto the table.

Even if the drawing paper is damaged, it's only a small price to pay.

However, a paperweight cannot be placed anywhere; it must not interfere with the painting process and must also hold down the parts most easily blown away.

That negligible weight must be placed in the right spot so that the drawing paper can stick firmly to the table.

This requires adjusting the position of the paperweight.

And so, the metal heart began to move and change.

It doesn't exist; it merely fills in certain parts of the painting.

It's impossible to draw where it's pressing down.

Those empty spaces became blank spaces in the painting; even the painter couldn't see what was under the paperweight—it was completely "empty."

Feel free to imagine whatever you want there.

Just like the qualities possessed by Heart Gold, wishes come true...

"Then why did Martin's 'rescue act' lead to the appearance of HeartGold?"

If Martin hadn't intervened in the disappearance of those twenty people, HeartGold wouldn't have appeared, and the world would have stabilized as predicted...

A scene appeared in Mo Ling's mind:
A piece of drawing paper was about to be blown away by the wind.

At this moment, someone picked up a paperweight and pressed it down on the drawing paper. He locked onto the spot, which was the corner of the painting that depicted "twenty little people".

As long as the paperweight is placed in that position, the entire painting will be firmly held on the table.

However, just as the paperweight was about to land on the drawing paper, the twenty little figures suddenly came to life!

The man hesitated, unsure of where to place the paperweight, and could only roughly put it down.

The result is:
The paperweight tilted, and the wind blew the drawing paper into the air.

The drawing paper thumped, and the wind even caused the paperweight on the table to move, pressing and rubbing against the edges of the painting.

Tear!

With a sharp crack, a huge tear appeared in the drawing paper...

And so the world became incomplete.

(End of this chapter)