Zuixianlou: Cooking Wine

After reading this article, I sincerely admire the author's classical freehand writing skills, his skillful use of imagery, and his strong dramatic tension. The black-coloured horse has a fierce aura, the three thousand mysterious armors envelop the coldness of the battlefield, the brocade robes and jade belts hide the splendor of the temple, and the high-rise buildings with turbid wine complement the leisure and laziness. Several groups of images contrast and contrast each other, and a few strokes outline a clear-cut mountain and river scene. The character creation is even more vivid, and the contrast structure is very subtle. Mu Yun's sharp edge is exposed and his ambition is undisguised. He is a worldly person who is willing to step into the whirlpool of the court and compete for power. Shen Yan is still in a desperate situation, but he still calms down and restrains all his energy. He is a worldly person who only sticks to his true nature and hides his edge. The desire for power in the court and the freedom of the world are naturally in conflict, and the obsession with worldliness collides with the transparency of life. There is no need to elaborate on the redundant plot, and the core tone of the story is immediately established. The writing of the whole text is concise and restrained, the words and sentences contain ancient charm, the scenery is described with charm, and the character is shaped with character. The short opening chapter firmly establishes the story framework of the intertwined plot of politics and politics, and the quality is high enough to give a glimpse of what to expect in the rest of the story.

Reading "Zui Xian Lou: Cooking Wine", the most attractive thing is the undercurrent of the atmosphere. On the outside, it looks like a Fengyue Restaurant, but inside it is a secret alliance of masters. Shen Yan was sitting leisurely in the building cooking wine, seemingly unconcerned with worldly affairs, but in fact he was planning the overall situation and stirring up the whole situation. There is no cliche harem, the focus is on games, fate and grudges. The setting of the exercises is very novel, the Drunk Immortal Technique is born in danger, and the dispute is the practice. Ice Pagoda Forest, Ice Lake Town, the desperate situation of wind and snow are written in an immersive way, with unknown peeps in the dark and murderous intent at every step, full of suspense. Each character has his or her own personality, the plot is tightly paced, and it balances the spirit of the world with the intrigues of the court. If you like Machiavellian martial arts fantasy, don't miss it.

A Drunken Immortal Tower, half of the Great Yong Fengyun. After watching too many martial arts fantasy stories about meditating and gaining enlightenment, "Zui Xian Lou: Cooking Wine" gave me a different flavor. The protagonist Shen Yan drinks and gets drunk every day, seemingly escaping from the world and sinking, but in fact he is deeply involved in a situation that spans fifteen years. The most amazing thing in the book is the "Drunken Immortal Technique", which does not require calmness and seclusion to practice hard, but instead requires dancing on the blade. Others want the mountains and forests to be pure, but he wants to temper himself amidst conspiracies, fights, and the cracks between multiple forces. The settings of the exercises are completely linked to the fate of the characters. Shen Yan cannot escape the disputes, and the disputes are precisely his training ground. Xuanjia surrounded the tower, the blood sword sent a message, the ice lake was windy and snowy, the snowy mountains and the ice tower forest were far away, the swordsmanship in the rivers and lakes and the intrigues in the court went hand in hand. There is no flowing harem, the focus is on tolerance, obsession, game and fate. Drunk is not a numb escape, wine is a disguise, and the building is a chessboard. While drunk, I watched the rise and fall of Dayong. Every time I raised a glass, there was an undercurrent surging. The chess game has been unfolded, let's see how Shen Yan stands on the edge of the knife and settles the old grudges from fifteen years ago.

Warning for a great article! I recently discovered a high-quality Machiavellian novel. The opening setting alone has made me ponder over and over again. Between the two opposing protagonists, Mu Yun and Shen Yan, who do you like more? The author has excellent writing skills and is good at using contrasting images to create dramatic conflicts: three thousand mysterious armors are killing people, black-coloured war horses are fierce, corresponding to the elegance of the royal court with brocade robes and jade belts, and the laziness and leisure of drinking wine in high buildings. Several groups of images, one cold, one warm, one solemn and one soft, are interlaced. The minimalist brushwork outlines a complete picture of mountains and rivers, and the sense of ancient charm and atmosphere is impeccable. Character creation is the biggest highlight of the whole story, and the contrast structure is designed to be very topical: Mu Yun reveals his ambitions, takes the initiative to fight for power in the court, and believes that he has power; Shen Yan hides his sharp edge, only seeks safety and comfort in desperate situations, and prefers the purity of the world. There is a strong collision between the two life choices of fighting for power in the world and keeping one's heart in the world. The conflict between the court and the world needs no introduction. You can understand the core conflict of the story at a glance. There is no redundant description in the full text, the words are concise and restrained, and the ancient charm is natural. The opening chapter quickly establishes the grand framework of power and intrigue intertwining the rivers and lakes. The writing style, characters, and narrative rhythm are all online, and the foreshadowing and conflict are hidden. The opening chapter alone has accumulated high expectations. The subsequent conflict between the two people's positions will definitely become the biggest topic in the book.

Title: Holding the sword with three points of strength in one place reveals the most suffocating psychological fight in the book This rivalry scene can be regarded as the top literary scene in the book. It does not rely on fighting, but only a small movement to create an extremely tense confrontation, and the text tension is directly full. The author did not directly describe how much hatred and grievances Xuan Shuang had, but only used the detail "the hand holding the sword used an extra three points of force" to distinguish anger from forbearance. Her heart had already been ignited by Wen Ruyu's provocation, but her reason held her tightly - the opponent knew that her left arm could not withstand the sword energy, and provoking her to draw the sword was a carefully laid trap. Once she drew the sword impulsively, she would expose her weakness and fall into the opponent's plan. On one side is Wen Ruyu, who is piercing her heart step by step, accurately grasping old wounds that are difficult for others to notice, with sinister intentions and hidden calculations in every word; on the other side, Xuan Shuang is carrying all the pain alone, obviously full of hostility, but has to forcibly restrain her edge. Rage is instinct, restraint is torment, the two of them did not move a sword, but the exchange of words was more suffocating than a head-on fight. The character's weakness, the enemy's ruthlessness, and the protagonist's forbearance and tenacity are all condensed in these few sentences. The foreshadowing is cleverly laid out, and the conflict between the characters is vividly depicted. The better it is, the more powerful it will be.

After reading the plot of Gu Jiao, I felt depressed for a long time. The most touching part of "Zui Xian Lou: Cooking Wine" is not just the battles and chess games in the rivers and lakes, but the coldness and pain in human nature that are deeply written. The torture of being eaten by the poisonous insects is tangible, but the scene of standing at the door of the poisonous cellar, counting indifferently with a bamboo tube in hand, is the knife that really pierces the heart. Physical suffering will scab, but the damage caused by others' indifference will be engraved in the memory year after year. A stick of incense lasting six hours not only keeps time, but also brings the hell of more than ten years ago back to the present. There are no hysterical roars in the book, only details are used to cover up old wounds, and all the old grudges are hidden under the cover. The characters are not black and white, entangled with grudges, and in dilemmas of love and hate. There is no cliche harem, politics and martial arts are intertwined, and every piece of the past is promoting the current chess game. Zuixianlou is full of wine and countless grievances and obsessions. It is worth reading carefully.