Anything Is Possible in Dreams

I saw the big Weibo, and I couldn't write so many words in the comments, so I went crazy here. I really like Dreams very much. I stopped reading halfway through and read the previous dozens of chapters over and over again. I just started learning physics in the second grade of junior high school. The teacher had a strong accent and the class atmosphere was not very good. I was very restless while studying. But when I saw Dreams, Hiruba and Xiaozhi's sincerity towards physics really infected me. I slowly came to appreciate the charm of physics (this is why it is important for me to study theory), and my mind calmed down and I could study hard. The dream is my white moonlight. I love everyone in the book. Although Zhou Ye was confused, she still embraced her innocent heart in the end. The conversation between Da Zhouye and Xiao Zhouye brought tears to my eyes. People like Shen Zhouye are just for this. Born in physics, she has dreams, full of hope, and is an out-and-out idealist. Thorns can only hinder those with weak willpower, but Shen Zhouye is definitely not that kind of person. Even if she stumbles in time, she will definitely move towards her dreams. Although Xiao Zhi is very irritable, a bit chauvinistic, and has a bad mouth, he has always been deeply in love with his Ah Shi, from the age of five to fifteen, and then to twenty-five. The faith that has been planted in Hiruha's heart since he was five years old has never stopped burning. This fire makes him particularly disgusted when he sees Hiruha who seems to be crushed. He says a lot of hurtful words, but his actions really show that he is not upright. This is why I want to scold him to death every time I see him say something unpleasant, but I feel soft-hearted for him time and time again. There are also many people in the book, such as Hiruba's father, Teacher Ci, Academician Zhou, etc. These people make me hopeful about my dreams, about physics, and about the goals I want to pursue. Later, Da Da suddenly showed up to finish writing the extra chapter. I was really excited and happy. I saw it at night. I frantically called my best friend in the middle of the night and harassed her for a long time. I also watched the dream from beginning to end several times. I really like Mengli, thank you so much for making it possible, it is my TOP1!

Tu Ran found out why there were only extra episodes about his childhood? Aren't there two big chapters about life after returning to China? (I really want to see this part of growing up /Big Sadness. Jpg(/Big Tears. Jpg

From high school to college, although the author always kept updating and never kept her words, I have seen many people scolding her and praising her, and I was once disappointed. But I believe that the person who can write such gentle language is a kind person. Come on, keep writing.

It's finally finished!! The extra story is so long, the story of my childhood is so long ago, it seems like it has not passed, it is still yesterday... What I like most about this book is the way Ye Ye and Zhi Zhi get along with each other and the process of the two supporting each other and achieving each other and striving for a goal. Maybe there are many people who hate it, and there are also many people who belittle it, but the external aspect is not important. What is important is that I like it. I hope it will be published?

Why haven't you grown up yet? I've been wanting to watch it for a long time. Help...

Woohoo, I want to watch the extra story about returning to China when I grow up.

I really want to see the extra story after returning to China and getting married.

Although, I actually quite like the male protagonist. Although he has no words to fight back, I just want Chen Xiaozhi and Shen Zhouye to work together.

I had a rough childhood, and when we reunited, I felt that the male protagonist was a pure scumbag, an unwavering scumbag.

## When dreams become entities: On the textual materiality and fantasy dialectics of "Everything is in Dreams" In an era when digital reading is prevalent, Xingxingsu's "Everything is in Dreams" appears in the hands of readers in the form of a physical book. This material carrier itself has become an excellent metaphor for the theme of the work. When we hold this beautifully bound paper book, our fingertips rub over the slightly raised gilded title, and the smell of ink emitted as the pages turn is silently reinforcing a core proposition: dreams, the most illusory spiritual product, have now acquired a tangible material form. The materiality of the physical book and the intangibility of the dream form a subtle tension. This tension precisely constitutes the key to understanding the deep structure of this work. The narrative art of "Everything Is in Dreams" demonstrates a rare "dialectics of fantasy" - Planet Crisp does not simply oppose reality and dreams, but keeps the two in a continuous interpenetration and transformation relationship. In the story, dreams are not an escape or the opposite of reality, but a continuation, supplement or even modification of reality. This treatment is reminiscent of Borges's "Ring Ruins," but the Planet Crisp gives it a more contemporary emotional texture. When the protagonist wanders at the interface between dreams and reality, the reader also enters a state of cognitive ambiguity and has to ask: To what extent is the experience we call "reality" constructed by our desires, fears, and imaginations? The material existence of physical books provides an embodied cognitive framework for this kind of philosophical thinking. When reading electronically, the text is presented as a homogeneous light spot, lacking a sense of positioning in physical space; while the reading experience of a paper book is full of tactile and spatial memory - remember that a certain plot is in the middle of the right side of the page, and a moving monologue requires a little force to open the binding to see clearly. This kind of physical participation creates a "reading ritual sense", which exactly corresponds to the description of the dream ritual in the work. When we say "put on a physical book", we are actually emphasizing this state of immersed reading, which makes it easier for readers to enter the world constructed by the work where dreams and reality nourish each other. Planet Su's handling of the dream function shows amazing originality. In her writing, dreams are neither Freudian desire satisfaction nor Jungian expression of the collective unconscious, but a more active cognitive tool and relational medium. Dreams become a testing ground for characters to break through the limitations of reality. Here, emotions that cannot be expressed in words can emerge, and the self that is suppressed by social norms can be stretched. It is particularly worth noting that these dreams are not private monologues, but highly interactive shared spaces - this is wonderfully echoed in the reading experience of physical books: when we read paper books, the annotations of previous readers, the creases on the pages, and even coffee stains all hint at the existence of other readers, creating a "shared reading dream" that spans time and space. From the perspective of literary tradition, the writing of dreams in "Everything is in Dreams" not only inherits the Eastern philosophy of "the big dream returns" in "Dream of Red Mansions", but also integrates the surrealist techniques in modern Western literature. But what makes Xingxingsu unique is that she closely combines this kind of dream narrative with the survival dilemma of contemporary young people. In a modern society with fierce competition and diverse values, individuals often fall into identity anxiety and existential confusion, and dreams become a psychological mechanism to regulate this anxiety. The survival of physical books as an "old medium" in the digital age is itself a metaphor about how tradition and modernity coexist, forming a double resonance with the theme of the work. In terms of language style, Xingxingsu has created a "liquid narrative" suitable for dreams - sentence boundaries are blurred, images flow freely, and tenses can be flexibly switched. This language acquires a special sense of space on the paper page: the spaces between paragraphs are not only visual pauses, but also become transitional areas between dreams. The author's careful layout, chapter separation, and font changes all become part of the narrative. These details are often smoothed out by standardized formatting in e-books. When we notice that a certain sentence stands alone at the end of the page, or that a certain keyword is deliberately bolded, we receive not only semantic information, but also visual and spatial cues - this is the complete aesthetic experience that can be obtained by "wearing a physical book". "Everything Is in Dreams" ultimately reveals to us a profound insight: the reason why dreams are important is not because they allow us to escape reality, but because they expand the dimensions of our experience of reality. In an era when materialism is prevalent, Planet Su reiterates the liberating power of imagination through dream narratives; and today, when digital reading has become mainstream, the physical book form of her works reminds us to pay attention to the materiality and physicality of reading. When we close this heavy book, the touch of paper still remains between our fingers, but those dream stories have already taken root in our hearts. This wonderful transformation process may be the oldest magic in literature, and it is also the most precious gift that Planet Crispy gives to readers. In this sense, "wearing a physical book" is not only a choice of reading method, but also a declaration of life attitude: it means that we are willing to let invisible thoughts obtain tangible carriers, let ethereal dreams settle into traces that can be touched repeatedly, and let the most private reading experience become the most material sensory enjoyment at the same time. "Everything in Dreams" proves in a unique way that the best dreams are precisely those that we can bring back to the real world.