Post here a paragraph of “Three Body” describing the design of metaphors in the story: this is an extremely important strategic intelligence. Among the many scenarios of light-speed navigation, it has determined that the space curvature drive is feasible, which points out a clear strategic direction for the development of human aerospace technology, such as a lighthouse that lights up in the dark night sea. Equally important, this successful interpretation revealed Yun Tianming’s mode of hiding intelligence in the three stories, which can be boiled down to two points: two-layer metaphor and two-dimensional metaphor. Double metaphor: The metaphor in the story does not directly point to intelligence information, but to another simpler thing, and this thing metaphors intelligence information in a way that is easier to interpret. In this example, the princess’s boat, Helsingen Mosken Soap and Gourmet Sea, are all metaphors of a thing-a paper boat driven by soap, and the metaphorical goal of the soap boat is driven by the curvature of space. In previous interpretations, an important prisoner of people’s confusion is to interpret the story according to the habitual thinking of single-layer metaphor, thinking that the plot of the story directly metaphors intelligence information. Two-dimensional metaphor: This model is used to solve the problem of information uncertainty generated by text and language. After a double-layer metaphor is completed, a single-layer metaphor is added to fix the meaning of the double-layer metaphor. In this example, the curling and ironing of the snow-wave paper is used to imply the spatial shape driven by the curvature, which confirms the metaphor of the soap boat. If the story is regarded as a two-dimensional plane, the double-layer metaphor only provides a coordinate for the true meaning, and the additional single-layer metaphor is equivalent to the second coordinate, which fixes the position of the meaning on the plane, so this single-layer metaphor Also known as meaning coordinates. The meaning coordinates are meaningless when taken out alone, but when combined with double metaphors, the problem of ambiguity in literary language is solved. A large number of metaphors in the giant are two-layer metaphors and two-dimensional metaphors. Different readers may see Sino-U.S. relations, Sino-Japanese relations, cross-strait relations, Germany and the Jews; 226, 1212, the Glorious Revolution; the Russo-Japanese War For historical events such as the Battle of the Raba Fortress, the Korean War Lu Chaoran (the Battle of the Sraba Fortress), and the Battle of the Xiangjiang River (the Battle of Maria Recapture), the author’s metaphors are complicated and vague. This is also the charm of the giant as a realist work. Only seeing Japan from the giant shows that the subject does not know enough about world history, nor about the creation of literary works. In fact, after a comic is created, readers’ reading and comprehension of the work is indeed the continuation of the creation, but a conclusive understanding will obviously obscure the artistry of the work.