Time is like a string that gradually breaks, and in the wind of Inazuma, it is torn into two pieces. Version 5.4 has arrived as promised, and as promised also means rebellion, and rebellion is the collapse of the daily structure I am familiar with. This time, it is not a warm celebration, nor a mechanical reproduction of rhythm, but a kind of airflow, a nonlinear dream – dreaming of Yue Ruixi, the new name that has sprouted on the ashes of logic.
When I tried to write about this character, the language began to refuse to obey. She is a wind element, a five-star magic weapon character, but when describing her abilities, I fell into a kind of multi-perception confusion. Is she a healer? Is she a damage dealer? No, she is the blank between the two, a miniature collapse in the wind.
Ruixi’s skills allow her to float in the air and continuously output range damage in the air. What you see is a character “providing a mechanism” in the combat system, but what I see is a body floating above the world, not belonging to the ground or the sky. When she entered the “dream drifting state”, I suddenly felt that it was not a skill, but alienation, a protest against position and gravity.
The “Dream Wind Special Snack” she created is a very paradoxical object. The healer’s tool is also a bomb. It determines its use according to the state of the picker. It is a tool, a bait, and a fragment of some logic in her heart. I tried to understand her mechanism, but kept falling into the cracks of meaning and meaninglessness. You use it, and it judges you. This is a judgment constructed by the program, but it is so human-like.
Have you noticed that in this 5.4 version, there is another character who appears at the same time: Sigwen, water element, bow and arrow. This juxtaposition makes it impossible for me to ignore the structural relationship between them. Wind and water, floating and sedimentation, magic tools and bows. They are like two opposing consciousnesses, one rising and the other falling. And Ruixi is not herself, she is a response to another character, a repair of the internal symmetry of the game structure.
She is not the only focus. In the second half, Funina and Leosili return in a replica. The word replica itself carries a symbolic meaning of repetitive nerves. In the context of the original god, it means the return of oblivion and the repetition of will. Funina, as a user of a one-handed sword of the water element, is calm with a certain emotional restraint, while Leosili, an ice-attributed magic weapon character, has a faint crack hidden under the shell of reason.
If Ruixi is “floating logic”, Leosili is “frozen neurons”. They are juxtaposed, reconstructed, and represented in this version. It is not a plot promotion, but a simulation of a psychological structure.
The same is true for weapons. Ruixi’s exclusive magic weapon is called “Qingyi New Year’s Day”. You think it is poetic and the silence of a spring morning, but in fact it is a destruction of the temporality of “New Year” – clear, not the weather, but the weightlessness of experience. The bow “White Rain Heartstring” in the same stage has a song-like name, but it is an irony of the constant vibration of the heartstring. You think you control the rhythm, but in fact it has been controlled by the game.
The weapons “Silent Water Flowing Glory” and “Golden Flow Supervision” in the second half of the card pool are two systematic symbolic devices. One represents the torrent of consciousness that keeps flowing under the surface, and the other is the illusion of the organization that regulates these flows. You think you chose to draw the weapon, but in fact you are the one who was chosen.
In the live broadcast of version 5.4, seven silhouettes appeared. Ruixi was confirmed to be the third from the right. I looked back at that picture repeatedly and found that her silhouette seemed lighter than others, with blurred edges, as if it would be wiped away by the wind at any time. This is a symbol, a doubt about the stability of existence-she appeared, but is she real? Does she belong to the character spectrum we know, or is she a ghost outside the design?
Among all these symbols, the player’s role began to waver. Who are you? Are you the protagonist? Are you the manipulator? Or, are you the snack picker who is treated, observed, and detonated by her? Ruixi’s skill mechanism embeds you into the system. She is not a supporter, but an echo of the program.
Treabar’s existence as a storage platform is more like an invasion of the structure of reality. You think you are spending in the game, but the consumption behavior has long been transformed from the physical level to the identity level: you are not a player, you are a connection point, a consumption module in this data structure. And storage is no longer a behavior, but a ritual of “becoming”.
Dreaming of Yue Ruixi, she is not a character, not an entity, she is an intermediate state of system contradictions. She entangles treatment and damage, mixes wind and logic, and juxtaposes floating and falling. She is not the “nanny” you are familiar with, nor is she a DPS. She is a concept, a paradox released in the form of a girl.
If you insist on extracting her, it is a narrative fall, and you voluntarily plunge into a mistake of the wind.
She will not respond to you.
She just floats by.