Mo Yan’s writing is always strong and full, with a rural flavor, mixed with magic and reality. He likes to use the simplest images to portray the most complex worldly conditions. Ju Fufu, the game character, carries a “popcorn pot” and rushes into the battlefield with a burning flame. If Mo Yan were to write about her, he would tightly entangle her with the smell of soil, the absurdity of human nature, and the spirit of resistance.
1. Popcorn pot – the absurd power in rural fireworks
Mo Yan’s writings often have absurd scenes of farm tools turning into weapons – hoes chopping people and iron pots flying. And Ju Fufu’s “popcorn pot” is a modern version of “countryside weapons”. The hot oil in the pot makes a “sizzling” sound, frying one popcorn after another. This sound and flame bring the fireworks of the open-air stalls in the field into the battlefield. She is not waving a shining holy sword, but a homely utensil full of the warmth of the land. This absurdity is full of truth, which is the original power of “farmers can use a hoe as a knife” in Mo Yan’s writing.
2. Normal attack combos and the rhythm of rural farm work
Ju Fufu’s three-stage normal attack combo is like a farmer plowing the field three times – one plow to rake the soil, one plow to sow hope, and the third plow to consolidate the results. The third stage of the combo can be connected to the fourth stage of the attack, which is like a harvesting action that knows how to accumulate power during the critical farming season. The accumulation of heat in the hot pot corresponds to the farmer’s sensitivity to weather, timing, and land. Mo Yan would say that this girl knows how to “talk to the field” and how to use the pot to fight the enemy back and forth.
3. The heat mechanism reveals the anger and emotional accumulation in the heart
The “heat” in the game symbolizes the accumulation and explosion of emotions. The more Ju Fufu fights, the higher the heat, the more angry and passionate he becomes. Mo Yan would describe this as a soul that has been suppressed for too long accumulating power in the soil. Each attack is not only a counterattack against the enemy, but also a slap in the face of the beasts and injustice of society. When the heat is full, she is no longer just a girl who makes hot pot, but a warrior with a burning heart.
4. Resistance and rural elegance in dodging and spinning
Although Ju Fufu’s dodging is manic, there is a sense of rural rhythm in the spinning. She is like a village woman practicing swords on the mud. Although her movements are not light, they are measured and powerful. Short-pressing invincible sprint is like a short escape from the market, and long-pressing spinning is like picking up a sickle to “do it”. Mo Yan likes this style of “rationality in roughness and restraint in wildness”. Spinning is not only her posture to deal with the enemy, but also like a circle of spells in the local accent, singing the resistance of “I don’t obey, I want to live” in the flames.
5. Strengthening skills and flame ritual sense
When she swings the pot and spins, the flames surround her, and popcorn fills the sky, it is like the “New Year customs” or “sacrifice” described by Mo Yan. The villagers burned paper, set off firecrackers, and sparks flew; Ju Fufu’s battle was like completing a ritual, using fire and pot to prove her existence. She did not fight for violence, but to let the world see her courage and passion. The dance of flames and pots can be called a ritual against the indifferent world.
6. Linkage skills and mutual assistance like fellow villagers
Ju Fufu gave teammates shields and released linkage skills, like the villagers pulling “shows”, working together in the fields and playing mahjong. Her shield is not excessive heroism, but the kind of “hands are covered with calluses but still willing to block the rain for you” reality. She will fight side by side with her comrades, like the brothers and sisters in Mo Yan’s works, carrying the war on her shoulders and irrigating hope with sweat. As Mo Yan wrote: “In a world full of turmoil, the most reliable people are always these lost folks.”
VII. Core skills and field experience of growth
When the “popcorn pot” attacks automatically and as the level increases, her power will not disappear, just like the real hometown complex, the kind of power that is deeply rooted in the bones. Mo Yan would say that people who have experienced farming and feeding pigs, even if they have been away from their hometown for many years, the physical memory of “you know the depth of the mountain when you climb the slope” will allow you to continue to ring the world with “you have your own land in your heart”. Her core skill is such a power – deep, simple, and cannot be achieved quickly.
VIII. Imagery and shadow painting like rural poetry
The final flame shadow painting is the projection of the land in her heart. The large piece of fire painted under the popcorn pot is like the brilliance of the rice fields after frost, and also like the silent waiting of the only lamp at the head of the village. She engraved her story in the air like a flame, allowing herself to resonate with this wasteland-like world. Mo Yan would say that this is “letting the barren land bloom and letting the absurd people live with dignity”. The story of Ju Fufu is both absurd and real.
Conclusion: The hot pot is a sword, and the soul of the countryside burns in the virtual world
If Mo Yan were to write about Ju Fufu, he would write a poem about the fire in the countryside on the “popcorn pot”. She is a warrior with the smell of fireworks, as real as the firewood stove in the village. She uses the pot to create heat, uses the fire to illuminate the way ahead, and uses cooperation and support to connect people. Although her battle is virtual, it has real blood and texture.
In the flames of the popcorn pot, she is not a hero, not a god, but just a mortal with roots. Her strength comes from life, from the countryside, and from the unyielding heat. She shows us that absurd tools can also breed warmth and dignity. Living in even the hottest pot can bloom tenacious flowers.