Gonggong's cosmic collision has a rival counterpart myth that this atlas records separately: the goddess Nuwa, who repairs the sky he broke by melting stones of five colors to patch the hole and by cutting the legs from a giant turtle to prop up the corners of heaven. Some tellings go further and make Gonggong's fury a response to Nuwa's own creative authority rather than to a rival male god, casting the flood-bringer's rage as a challenge to an established cosmic order rather than a contest between equals, though the surviving textual tradition is fragmentary enough, drawing on scattered references in works such as the Huainanzi and later compilations rather than one continuous narrative, that scholars debate how the story's cast and motives shifted across centuries of retelling. What stays constant across the variants is the geography the myth exists to explain: the visible tilt in the apparent path of the sun, moon and stars toward the northwest, and the observed tendency of China's major rivers to flow toward the southeast and the sea.
Read this way, Gonggong is less a villain in a single fixed morality tale than a personification of the flood itself, a natural force whose sheer scale required an equally cosmic act of repair, and the myth's real achievement is binding a specific, observable feature of the land and sky to a memorable act of divine violence and its remedy.