Interstellar Travel: Becoming a Dress-Up Game Designer

Chapter 172

After the video was uploaded, countless players of "The Enlightenment of Things" couldn't contain their excitement, especially those specializing in archaeology, and flocked to Planet Aimore to experience the wonders of this dungeon.

Does it truly simulate a generation of civilization?

While it's uncertain whether the simulation accurately reflects the history of human development on our home planet, it's truly remarkable that someone could come up with a complete historical narrative of human civilization.

Lin Shuying was unaware of this idea, but conceiving a history of racial development was a common occurrence in her previous life. It seemed that most writers, those who had read a few books on human history, could fabricate such a story. This wasn't the fault of the interstellar community; anything conceived must have some basis.

As the dungeon progressed into its later stages, the themes that Lin Shuying wanted to express were gradually discovered by the players.

The true meaning of "Inherited through the ages, its legacy continues unbroken" has been revealed, leaving players deeply amazed.

"The designer really thought ahead; he actually tried to simulate a history of human development."

"Ahhh, I was a big tree. Although I was eventually struck by lightning and died, I witnessed the development of two tribes. In the end, they even formed a country near me. That was amazing."

"You were struck by lightning? Hahaha, that's hilarious. I was burned to death by a wildfire. A little kid went to herd cattle, and when he left, the fire was still burning. A gust of wind blew in and the whole mountain was engulfed in flames. My paulownia tree, which was dozens of meters tall, was burned down to the roots."

"I was also burned to death, sob sob sob."

"I'm fine. I died of old age. Because the tribe considers me a sacred tree, my soul will remain in the tree after I die, until people stop believing in me."

"What? You can do that?"

"Why are you all so concerned about how we die? I'm more interested in the clothes inside—they're absolutely amazing!"

"Me too, I absolutely love the clothes in there. This event is truly worthy of its name, with each piece of clothing changing with the environment and development, it's amazing."

"I heard that Qingfengyi has released a children's dungeon. Do you think the children's dungeon will be integrated into this event?"

"I don't know, but I hope we can connect. This event was really interesting."

........

The chat channel is buzzing with discussion.

Since there weren't many tasks in this event, players could simply go into the dungeons and experience life. As a result, many players had nothing to do in the later stages and just chatted aimlessly in the chat channel.

Some players have a lot of problems.

Explore the map's size, the number of tribes on it, and how they eventually evolved. Some even trace the origins of a race based on later historical records and evidence, discovering various tombs and historical sites.

The NPCs in the instance have started building a history museum, which is similar to the StarCraft game "The Enlightenment". However, since there is no holographic technology here, their museum can only be built as a physical object.

More importantly, they possess a wealth of physical evidence and relics, requiring a real-world museum. Interstellar space only has a bunch of electronic storage contents, a large portion of which are damaged; these can simply be imported into the holographic world.

Many StarCraft players envy the NPCs in the dungeons. At this moment, they can truly appreciate what it means to have accumulated wealth over generations, and what it means to have the foundation of a nation, a country, or humanity.

To participate in this event, simply experience the dungeon life for more than a month, regardless of the creature you choose. Upon completion, you will receive ten sets of outfits for this event, one set for men and one set for women, for a total of twenty outfits.

That's a really big spender, and all of them are limited edition outfits.

The outfit worn by the ball player was a whip-wielding suit, with a high ponytail held up by a swallow-shaped crown and a tassel hair ornament. Her bangs flowed in the wind, paired with a wolf-tooth headband worn at a slant.

He wore a wolf-skin overcoat with a red linen lining, and underneath that was a silk undergarment. The silk undergarment improved comfort, but the player was there to appreciate the beauty of clothing; there was no need to actually wear scratchy linen like people from that era.

When it comes to this, many people say when they think about the revival of traditional Chinese clothing in modern times: "People in ancient times didn't dress like this at all. They didn't have the level of fabric production in ancient times. Ordinary people in ancient times simply couldn't afford to wear clothes like this."

The idea that Hanfu is being rendered meaningless and false has led to a surge in such claims.

"Oh dear, you've all made that up. It never happened like that in ancient times."

"It's all fake, yet they keep reviving it every day. Who knows if it's real or not?"

.........

Lin Shuying just wants to say, how can genuine artifacts unearthed in museums be faked?

Furthermore, the reason ordinary people couldn't afford these clothes was because ordinary people couldn't afford them in the past. Now that everyone can afford them, why bother making clothes that are uncomfortable to wear?

Even if you have to do that, there's nothing wrong with putting a cotton or silk lining inside, right?

What we're reviving are things we need and can actually use; if there are shortcomings, we should improve them. As human beings, our greatest strength is our ability to innovate and think; why insist on pursuing the absolute original?

If that's the case, everyone will still be primitive, so what's the point of progress?

That's how inheritance works; it inevitably involves discarding some things, which is why history feels so profound and worth recording. Lin Shuying makes many improvements to the clothes she creates, but she always carefully explains why she made the improvements and what the clothes were like before.

In my past life, these items were made into exquisite story cards and given to customers along with clothing, and they are still given to customers now.

Every time a Starman commissions something from Qingfengyi, they receive a story card that clearly explains the story behind the jewelry or hairpin, the inspiration behind its creation, and its cultural heritage. For clothing, the card will specify which dynasty of China it belongs to, the characteristics of that dynasty, and the differences between Qingfengyi's version and the original.

This is a complicated process, but Lin Shuying believes that while some things may be impractical or cumbersome, they are part of technological and historical development. Not using them doesn't mean forgetting them. By passing them down through words, stories, or pictures, future generations will understand why these changes occurred and why improvements were needed later…

The women's outfit consists of a red skirt, the same color as the top, with a slit, and white trousers underneath. There are three small white jade gourds and a bell at the waist.

It was strung on a thin silk ribbon.

But her belt was very wide, because her belt was her whip.

The whip is about half the width of a middle finger, can wrap around the waist five times, and is two or three meters long. The end is a golden snake head, with a small arrowhead made of black iron at the tip. It makes a whistling sound when swung, which is quite terrifying.

In the costume special effects, a beautiful woman walks gracefully through the snow when two white wolves suddenly leap out of the woods beside her. The woman swiftly draws her whip and lashes it out, the sharp arrowhead piercing the wolf's eye, causing it to howl and writhe in pain. Another white wolf pounces, but the woman swiftly uses her whip to strangle it and pull it forward.

The white wolf fought against her, pulling and tugging at each other, neither able to get close.

The wolf, its eye injured, attacked from the side. Just as it was about to strike the beauty, she pulled a gourd from her waist and sprinkled it towards the white wolf. After a cloud of white mist, the white wolf collapsed, clearly poisoned.

Only the white wolf, still resisting the whip, was pulled back by the woman's toes. She pushed off the ground and dragged the wolf two feet away. A drop of blood appeared on its neck, and upon closer inspection, it was clear that the tip of the whip was deeply embedded in its neck.

The beauty is valiant and fierce in battle. Yet, her red dress adds a touch of grace and elegance to her movements, making her incredibly beautiful.

This outfit made many people envious. Some players who hadn't bothered with the strategy quickly entered the dungeon, and no matter what they did, they wanted to stay for a month before doing anything else.

However, entering the instance at this point means missing the most exciting part of its development; you'll only see the later modern world and the events after the disaster, where you leave your home planet.

This part was written by a consultant and modeled by Lin Shuying; it's very interesting.

The players were moved to tears.

"I feel a kind of sadness, like I've been away from home for many years and can't go back."

"So our ancestors went through such wonderful and terrible things. Waaah, it's really true, just like in the game, there's only one homeland, and the same goes for our mother planet."

"Ahhh, I always thought that the home planet was ordinary and that it wouldn't matter if one of them disappeared. I never imagined that in the eyes of the ancients, the home planet was unique. I'm so touched."

"I've decided, from now on I will love the planet I live on properly!"

"Me too, I'll cherish my planet from now on!"

The interstellar people's love for their habitable planet is different from the love for Earth that everyone in Lin Shuying's previous life had for it. They know that many barren planets are habitable, and if one doesn't work out, they can simply move to another. They are even willing to undertake humanitarian migrations to better planets; many inhabitants of third-magnitude planets have moved to second-magnitude and first-magnitude planets in this way.

However, after experiencing this Qingfengyi event, everyone seems to have a new idea. The traditional Chinese idea that "the place exists even when the person is not there" is deeply imprinted in this event.

In the dungeon, countless NPCs risked their lives to protect their homes and their own little plot of land.

When Lin Shuying was designing this place, she recalled a commentary she had seen before, which said that Chinese science fiction films are always about saving the world, always hoping for a better future. But science fiction films from most other countries, especially those with maritime civilizations, are always about escaping, always abandoning their homeland to enjoy the present while giving up on the future.

Indeed, the environment truly can determine the core of a civilization. From Lin Shuying's perspective, Chinese civilization is far superior!

First of all, she dislikes wandering and escaping.

Secondly, she always feels that today is not quite right, and tomorrow will be better.

Returning to the second set of clothes, there are two sets of Warring States period robes, with similar styles for men and women.

The men's version is brownish-black, with wide sleeves and a plain finish. It is paired with a crown symbolizing rising to high positions, adorned with a hairpin shaped like a pixiu (a mythical creature). A dazzling pearl is set at the front.

A waistband was tied around her waist, embroidered with a deer walking on waves. A jade pendant depicting a deer lying by a grassy stream hung from her waist; it was very beautiful.

He held a jade ruyi in his hand.

There's a lighter-colored cloak in the same color family over it; it looks good worn alone or with it.