Food Fairy Lord

The literary style of this novel is still good, but the narrative feels a bit delayed. Maybe the author wants to depict every scene in detail. I feel that the character of the protagonist is not very likable, and his emotional intelligence is really worrying. When and where a person is, what kind of abilities he has, and what kind of things he can do, he should know clearly in his heart. When his ability is not enough, he can do it in a side way, but he cannot directly and recklessly push forward. This is a lack of self-knowledge. In terms of emotions, he is really coy. The emotional scenes in the article are surprisingly embarrassing. The protagonist doesn't quite understand these things, but he can't act like a noob. In the article, the protagonist's enthusiasm for practice is not very high. It is supposed that after the protagonist recovers his Dantian cultivation, he should cherish his practice, but this is not reflected in the article. The protagonist spent most of his time on various things. If a genius wants to succeed, he should also have ten thousand enthusiasm for practice.

The first volume is very interesting. The two lines echo each other. I really like the character Zhu Gaoyang. There is also a climax at the end, which is refreshing enough. In the second volume, I decided to abandon it temporarily after seeing the end of Wu Bi. The author seems to like to write very heavily on some supporting characters. The main plot advances very slowly and he also likes to be the Riddler. I can only say that the emotional line is in the eyes of the beholder. In general, for those who have high expectations for this book, I recommend reading the first volume, and then reading the reviews after the second or even third volume is completed before deciding whether to pursue it.

The author's writing style is very good, and the details are also very good. It has the flavor of a physical book, but there is one problem. It is too knife-like. Not many people related to the protagonist can survive. At the end of the volume, all relatives and friends are dead. Is it interesting? It gives me a feeling of fighting for the knife's sake. The death of these characters actually does not give me too many feelings. It just makes me feel better. I feel bored, and I know I'm going to die as soon as my name comes out in the comments. In addition, the official is always slow, just like the police in American TV series who only know how to wipe the butt, but always fall short at the critical moment. Treating the villain is like feeding a baby with experience, allowing the villain to grow steadily. There are many problems, and the most important thing is that it feels boring.

The writing style is readable, but the author likes to be mysterious and very deliberately does not follow the market's cool writing routines, highlighting the uniqueness of his writing style.

The person who came from the Xuanjian Immortal Clan writes very interestingly and has a solid writing style, which is much better than some so-called great gods from the starting point. However, the literary taste is too strong. After reading dozens of chapters, I kept worrying about it, but the relatively weak protagonist was fine all the time. If the author hadn't wanted to make a big reversal (for example, the protagonist is no longer himself, and has completely become a container or something to break into the opponent's camp), then I just think this is too open-ended. There is also a problem with the rhythm. The previous writing was too tense. It's hard to say how far this kind of writing can go.

The writing style is really good and well written. But the plot line is very dragging and the scope of control is uncomfortable. At present, the world view itself is quite large, as well as the military system and the imperial science system. What I saw was the soul bird that spreads the word and the small dragon heart, a temporary weapon that makes people stronger. Like the multiplication weapon, there was also the appearance of the talisman and seal, which made people want to stop. But when it comes to controlling the development of the plot line, it's really uncomfortable to watch. The protagonist is still a little mud-legged person, jumping around with a group of people, facing the big BOSS, the Dragon King (according to the description, he should be the existence of the ceiling of combat power in this book), but the protagonist and the group of people are doing things indifferently one by one, and they regard life and death as nothing. Maybe in the next second I'm still pretending to be fine, I'll wait until the sky falls, but the civilians outside are almost dead, and the previous imperial system is as if it's gone here. With such a big thing happening (at worst, it's like gods descending to earth, at worst, the world will be BOOSed later), why are no tall people paying attention, and no news is being blocked. Which Ming Qitian has appeared, a disciple of the highest existence belonging to the highest organization in this book, who doesn't know how to shake people? A group of level 1/10 beings are going to face a level 10,000 BOSS as if they are saving the world. Are you leaving it here?

You can take a look at the chapters before they are released. The writing is great and not too laggy. The psychological description of the fighting scenes later is too long-winded. The emotional scenes directly reduce the protagonist to the level of a primary school boy at the beginning of the last century. It would be better to just delete the chapter that is entangled. Is the co-author Myojin just used for fighting? The moral shackles given to the protagonist are too heavy. This kind of thing can be done but cannot be said. The characters appear to be three-dimensional, but in fact they are facial makeup, with a sense of painting without focus. The most impressive thing is the official who dare not block the way when the immortal king enters the city. By the way, I complained about the Taiyi True Dragon Immortal Lord. Don't tell me that I can regard him as three people. His craftsmanship is more important than his popularity, which may be related to the preference for physical books.

The utilization rate of named characters is too high. It feels like a unit drama or a detective drama. Every information that appears can always be used, and every name that appears plays an important role. However, if you want to describe a world, there should be many background characters and many less important characters to hold up the stage. Up to now, the protagonist has been exposed to relatively extreme events. Maybe the pace can be slowed down a little, and the peaks and valleys can be smooth. When playing Devil May Cry, there will be puzzle elements interspersed with it, and when playing Dark Souls Sekiro, you will also have fun from time to time. Some relaxing chapters can be interspersed. For example, in Jiangnan Dragon Writing 3, the trio worked as cowherds for a period of time before facing off against the boss; in Writing Piaomiao Lu, before Jiye robbed the execution ground to save Asule, the three of them also lived a ridiculous life for most of the book. After all, I am writing a long story, so there is no need to pull the strings so tightly all the time. Seeing that I still feel uncomfortable, I always feel that the stage is set first, and then I go back to prepare the roles needed for the stage. The characteristics of the supporting role are just enough to be used. There is always a sense of immediate vision that this person must be something in order for something to happen. Of course that's just my feeling.

The Aboriginal text also starts with modern people's thinking, and the writing style is also very convoluted. There are a lot of words written, and I can't understand what the author wants to express.

I read the whole story in one go and the plot is compact, but it is too painful to follow. The author would like to read more.