〔2023年，你我，在意識之河，網路之海，匯集之處。〕
〔兩個女孩之間的關聯，是一碗海龜湯解謎故事。〕
〔這是一場，你面對我面對你，你我都在場才存在的鏡花水月。〕
〔flower_0.38：^_^〕

☻網路上的臉孔，逐漸長出顏面神經

截至2023年，社群交流方式飛速地由肉身傳遞（包含五感的溝通、語言的媒介）大遷徙至網路。「現在人」可能在還未完全釐清網路身份與自我身份的關聯之前，就已經開始發展「網路感官」頻繁地生長「網路肌肉」。

數位生活產生的新鏡子☻

而在「鏡中自我×社群媒體」的交互影響下，「現在人」的鏡中自我生成除了直接接觸他者外，更多的是網路ID之間的「呈現：別人眼裡的想像」、「想像的判斷：想像與判斷呈現出來的結果」、「主觀的解釋：依自我的認識，來回應判斷出的結果」所產生的鏡中自我認識。如此這般鏡花水月的社會樣貌下，人類對世界的認識產生了新的數位思覺——人們可以輕易地接受快轉的人聲、視加上濾鏡的面容為常態、甚至能夠使用完全虛擬的人設進行聚落行為。在這樣的社會慣性下，反而使人們開始不擅長以「線下」的樣貌進行鏡中子我的社群模式。

〔黃鏡悅：你好嗎？。〕

☻☻ 暗暗的房間，亮亮的螢光屏。亮亮的日光燈管，暗暗的囈語。

線下生活的日常故事，與迷糊的、虛擬線上動態交織敘事。宛如身入其境「藍色恐懼」（Perfect Blue，日本知名動畫導演今敏こんさとし執導，於1997年8月5日首映的日本心理驚悚動畫電影）的玄幻，「線上×線下」無限反射。

flower_0.38：0:ןǝʌǝꓶ
妳 想 要 的 沒 有 得 到
我 不 是 眼 淚 的 容 器
我 想 要 的 沒 有 出 口
妳 不 是 靈 魂 的 容 器

／
黃鏡悅：

我最近在試著早睡，還有運動。但儘管我在十二點半吞下了安眠藥，早上八點半醒過來，泡好咖啡，深呼吸，我還是沒有準備好化為人形。但也就這樣人模人樣地生活著。
得有一些改變才行，對吧？
再這樣渾渾噩噩，我只是垂垂老去
欸，妳之前總說我找了太多藉口，怪東怪西的，才總是覺得好孤單喔，總覺得缺少了什麼，我想妳說的是對的，但已經來不及了，我恐怕只能想辦法完美的騙過我自己。

〔flower_0.38，前往真理之門的冒險者。而常常困在一場於辦公大樓的夢境〕

2023, you and I, in the convergence of the river of consciousness and the sea of the internet.
The connection between two girls; the story of decrypting the Lateral Thinking Puzzle
This is an illusion that can only be seen when you and I are both present. 〔flower_0.38：^_^〕

Facial nerves growing on the faces of the internet

Up until 2023, social interaction has rapidly shifted from the corporeal realm (including the five senses and through language) to the internet. Before "modern people" manage to discern the connection between their internet identities and their physical ones, they started developing "internet senses," which have led to the growth of "internet muscles."

The New Mirror Born through Digital Living

Amid the interaction of "the self in the mirror × social media," the self of "modern people" have formed illusory self-understanding that is rooted in "presentation: the imagination in the eyes of others," "imaginary judgment: the results of imaginations and judgment," and "subjective explanation: results from repeated judgment and self-understanding," internet identities that exist outside of contacting others directly. This social phenomenon of "mirror reflection" has led to new digital understandings of the world: people have become accustomed to speech played at faster speeds, faces that have been added with filters have become the norm; people can even engage in group behaviors through entirely fictitious identities. This social inertia has led to people becoming unaccustomed to participating in "offline" social interactions.

〔Huang Jing-Yue: How are you?〕

A bright screen in a dark room. The bright fluorescent light and faint whispers.

Everyday stories that occur offline intertwine with the blurry, virtual dynamic online narratives. The scenario is like the illusory scene in Perfect Blue (an animated psychological thriller directed by the renowned Japanese animation director Satoshi Kon and premiered on August 5, 1997), the online and offline worlds in continuous reflection.

flower_0.38：0:ןǝʌǝꓶ
What you want you did not get
I am not a container for tears
What I want, there’s no way out
You are not a container for your soul

／
Huang Jing-Yue:

Recently, I have been experimenting with going to bed early and exercising. However, even if I take sleeping pills at twelve-thirty and wake up at eight-thirty, I am not ready to change into human form even after I have made my coffee and taken a deep breath. However, I have managed to live in a state that resembles being human.

Change is required, right?

Hey, you said I make too many excuses, blaming this and that; that's why I feel lonely, always thinking something is missing. I guess you're right, but it's too late. All I can do is find a perfect way to trick myself.

─ ─ ─

〔flower_0.38, an adventurer heading to the door of truth but is often trapped in a dream in an office building.〕