Draw Evil

Self-review of "Painting Evil" After I finished writing "Painting Evil", I looked back and found that the most satisfying part was "Meiwanzhi". This character was so exciting to write - from the initial "Guardian" setting, to later she used her last existence to light up the lamp in exchange for a fat rabbit, in exchange for being "remembered". She never wanted much, just to be seen. Finally she was really remembered. When I wrote about her, my eyes felt sore several times. The biggest regret is the structure. We started writing directly from the third act, and the first two acts were "imagined existences." This results in that when the characters appear, their past can only be filled in through dialogue and memories, and the thickness of the emotional foreshadowing is reduced. The transition from the prince's luck to handing over the soul-inducing incense is not delicate enough. Wei Lan's inner thoughts were written too lightly, and she had too many things on her mind that she didn't say. The most proud thing is the lamp and the rabbit. The light was always on, and the rabbit kept squatting and tilting his head to look outside the picture. They are the soul of the story - as long as there are people who remember the sacrifice, as long as there are people who are worthy, and as long as there are people who love each other, the lights will not go out. The rabbit held up the plum blossom branches and looked at those people, watching the apricot blossoms bloom and fall. The last thing I expected was that readers liked the extras more than the main text. In "Voiceover", Mei Qingyuan looks at her daughter across life and death, and the words "Dad, I'm fine" are more poignant than any other drama. "That Fat Rabbit" is even better, both funny and tear-inducing. The main text is "a story that must be told", and the extra is "thoughts that are reluctant to be told". This sentence is my explanation to myself. The overall score is 7.5, Not perfect, but written with care. Thank you for reading this.

The extras are indeed better than the main text - I agree with this. The main text is "a story that must be told", and the extra is "thoughts that are reluctant to be told". In "Voiceover", Mei Qingyuan looks at her daughter across life and death, and the words "Dad, I'm fine, don't worry" are more poignant than any other drama. The father has always been there, and the daughter finally knows. "The Fat Rabbit" is even more amazing - a painted rabbit squats on the wall every day, tilting its head and looking outside the painting. It knows whose thoughts it is. That scene was both funny and tearful. Mei Bandhi's last request was to "draw a fat rabbit." Chu Ning painted it. The rabbit kept squatting, watching those people, the lamp, and the apricot blossoms blooming and falling for her. The main text makes us cry, and the extras make us laugh and cry. This is called staying power.

"Hua Sha" has too much stamina. Mei's voice of "let me be seen" and the fat rabbit tilting its head are more poignant than any earth-shattering thing. The extras are particularly good - in "Voiceover" the father looks at his daughter across life and death, and "The Fat Rabbit" is both funny and tear-inducing. After reading it, I always felt that a light was on in my heart, and that light has always been there.

It's a good subject. The people in the painting all have souls. The fat rabbit also has a soul. He's alive. I prefer watching the extras. It's good.