[Mountain Blade: Fu Chen]
Snow sealed him in the deep mountains for eight years, while a cursed prophecy wound around his bones. A benefactor's cup of wine, a dear friend's open road: both turned to poison that pierced his gut. He crushed the blood in his throat and, with the body of an ant, set the road to heaven ablaze.
Beneath the mournful night flute, he struck down the wolf's head three times. Fires blazed across the wasteland, slaughtering every jackal and fox. The world expected a madman to become a demon, but he led the Hu cavalry into Yanzhang and turned his blade against the rot in the court. The day he stood atop a mountain of bones, he ground fate between his teeth. Life and death were no more than a single breath.
He spat out that breath, and from then on, his destiny was in his hands. No ghost or god could stop him.
[Cold Chessboard: Zong Zheng Xi]
Born of the imperial line, with foreign blood. Born on jade steps, raised in frontier snow.
Twenty years guarding the border, his soul forged in iron armor. Yet the eagle he had trained with his own hands pecked out his eyes, and the blade he had trusted turned against his heart.
Then he would use himself as bait and wager his life on the game. Only after falling from the clouds into the mud did he see the crisscrossing lines of the board. The place where he had fallen was, in truth, the real chessboard.
He cast off his crown and crawled out of a mountain of corpses, becoming the maddest of advocates: why not break the game from outside?
[The Game Comes Together]
They met at their lowest point. At a single glance, the mountains and rivers fell silent and became a chessboard.
He played black and marched north, splitting the old world like bamboo. He held white and turned south, gathering sparks in the darkness.
The tumult of three dynasties amounted to no more than a game of chess played beneath their sleeves.
When the smoke of war finally cleared, they sailed together into the mist and rain.
The rivers and seas became their pillows, the green mountains their shared monument.
The end of the game was the road home.
Imprisoned in the mountains, Fu Chen drank poison that shattered his bones, then rebuilt the world from the depths of the abyss.
Zong Zheng, the frontier general, gambled his life in a burning game, placing his piece against all odds to swallow the heavens.
Black shattered the dynasty; white won the people's hearts. The land was their board, and together they played a game they never regretted.
Completely revised in 2024-25.
Theme: You use a black piece to become a traitor who brings down the dynasty. I use a white piece to gather clear-hearted people from the shadows.
Deep Azure
A Love Story in Non-Euclidean Geometry
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The Spring Breeze Sweeps Through Yumen Pass
Red Peonies
Abyssal Peaks
Hefei Dating Algorithm
The Ink-Stained Little Immortal's Long March Through Ink
Flowers Bloom from Bone Curses
Zheng’s Grind: From 996 to “I Do”
Springtown of the Steel Capital
Invalid Clear: Rewriting the Youth Patch
The relationship between the two protagonists is not an ordinary lovers' narrative, it is more like a deep suture of two broken souls. From the beginning, this relationship was full of sadomasochistic tension, the pull of the death drive, and a strong tendency to eventually move toward symbiotic fusion, which may reflect the author's deep desire and fear for an absolute, unconditional intimacy. 1. Mirror relationship: intertextuality and identity of trauma The relationship between Fu Chen and Zong Zhengxi is first based on a deep "trauma identification". - The twin feeling of being abandoned by the family: Both of them are in the status of "abandoned children" in their respective families of origin. Zong Zhengxi was ignored by his adoptive father because of his barbarian ancestry, while Fu Chen always lived in the fog of identity. This common "marginal life experience" enables them to understand each other's loneliness and the anger of not being chosen the moment their eyes meet. This mirror relationship builds a solid foundation of trust in the subconscious: you, like me, are people who cannot be classified in this world. - Shared "parricide" guilt: Zong Zhengxi objectively participated in the overthrow of the dynasty of his adoptive father Zong Zhengqiu, while Fu Chen inadvertently accelerated the death of his biological father Jia Yun. They all bear the heavy and symbolic guilt of patricide. This gives them a deeper understanding and tolerance for each other's sins than ordinary people. In front of Zong Zhengxi, Fu Chen did not need to hide his identity as an accomplice, because the other party had also crossed the forbidden river. This intimacy of complicity is a profound bond that transcends ordinary love bonds. 2. Idealized objects: moving towards "unconditional holding" Zong Zhengxi gradually played an extremely important psychological role in Fu Chen's life - the embodiment of a "holding environment". - Redemption and Acceptance: Fu Chen's heart is highly self-destructive. And Zong Zhengxi was almost the only person who repeatedly told him "you are not your fault" and "you have to live". All Fu Chen's impulses of self-punishment and willingness to die were forcibly put back on track by Zong Zhengxi in an almost violent way (whether it was verbal suppression or physical restraint). This character assumes a transcendent, maternal healing function: he not only sees Fu Chen's wounds, but also becomes the cornerstone for Fu Chen to construct a new self. This relationship model may reflect the author's subconscious longing for a nurturing force that is "absolutely correct and will never abandon oneself." - The integration of a strict father and a loving mother: Zong Zhengxi treated Fu Chen with both military severity (forcing him to be chained and not allowed to participate in battles), and almost gentle compromise (sending him jade, warming his hands on snowy nights, and agreeing to "be with Chen"). He assumes both "punishing fatherhood" and "tolerant motherhood" and is an ideal object that integrates the functions of both parents. By creating such an image, the author seems to make up for what may be missing in reality at the imaginary level, a perfect caregiver who can give both firm guidance and unconditional acceptance. 3. Death drive and desire for symbiosis: the ending of the same dust The most shocking dynamic in this relationship is their attitude toward death. - The temptation and rejection of love-sacrifice: When Fu Chen was dying of illness, Zong Zhengxi forced him to commit suicide: "The blue waters of the underworld will follow you wherever you go." This is not a simple affection, but a conspiracy of death drive (Thanatos). It implies an extreme emotional logic: if you die, I will not live alone, we will be one in the kingdom of death. This idea had a morbid allure for two people burdened with a deep sense of guilt. - The final choice to "survive": However, the ending of the story transcends this devastating fusion. Zong Zhengxi finally asked Fu Chen to "take a breath and listen to me", and Fu Chen also begged him to "don't let me take the lives of my loved ones". They finally chose the most difficult path: each carrying pain but living together. This turning point is crucial. It marks that the relationship between the two people has shifted from the death impulse of "going to hell together" to the life connection of "spending the rest of their lives together". In the end, the author did not let the scarred couple join hands to go to the eternity of nothingness, but let them choose to support each other in the limited and bustling human world. This may reflect the author's core psychological need: not to escape pain through death, but to bear and transform pain through being seen and accepted by others. 4. Emotions as "anchors" Zong Zhengxi also has an extremely important psychological function: he almost unilaterally serves as the "confirmer" and "anchor" of Fu Chen's chaotic identity. - When Fu Chen was completely lost in terms of nationality, identity, loyalty, and morality, Zong Zhengxi's existence provided him with the only "real sense" coordinate. He will call his real name "Fu Chen", he will look directly at his ugliest scars, he will respond to his humblest requests, and he will accept his most straightforward desires. Amidst all this turmoil, Zong Zhengxi's gaze was constant and transparent. It was like a cold and firm light, pulling Fu Chen back from the abyss of self-denial to a place where he could stand. This relational dynamic of being "witnessed by others" is an extremely critical link in trauma healing. The relationship between the two protagonists is not a utopian romance, but a bloody healing ceremony in the quagmire of the world. What it ultimately points to is not the bliss of stripping away all pain, but a decision that is willing to stay in the world for the other person and endure the rest of his life even if he is covered with scars. This is perhaps the deepest and most difficult psychological insight the author conveys through this relationship: true salvation lies not in finding a flawless place to settle down, but in finding someone willing to walk on the ruins with you.
A grand fictional work is often the most complex projection field of the creator's inner world. "Red Crow" is not only an epic about power, war and the fate of family and country, but also a spiritual theater carefully constructed with words. In this play, the author dramatizes and practices the conflicts, fears, desires, defense mechanisms and unfinished desire for healing deep in his subconscious through a carefully woven plot and flesh-and-blood characters. Core Theme One: Cracks in Identity and the Long Search for "Father" The core narrative driving force of the novel always revolves around the protagonists Fu Chen/Jia Sheng/He Xusheng's arduous pursuit of the fundamental proposition "Who am I?" His identity is constantly being torn apart, defined, and reset. This is not only the careful design of the plot, but also can be seen as some kind of metaphorical writing by the author about his own identity dilemma. - The original setting of "Nowhere to Return to": the protagonist is in a "parentless" state when he first appears. He lost his mother at a young age, was abandoned in the wilderness, and lived with wolves, and was later used and betrayed. This continuous "object loss" and "unmirrored" primitive loneliness may reflect some deep "separation anxiety" or a shake of "primitive trust" deep in the author's heart. The author seems to repeatedly write about a diffuse existential uneasiness of "I don't belong to any group" through Fu Chen's life trajectory. - The symbolic system of three fathers: the novel constructs a complex "paternal sequence" for the protagonist. 1. Ni Congwen (pseudo-father/user): He gives the protagonist a "task" and a false identity, and is the embodiment of exploitative and instrumental patriarchy. This symbolizes the author's deep subconscious doubts about authority and his deep fear of "being used and treated as a pawn". 2. Jia Yun (real father/misunderstood): The real biological father, but without the protagonist's knowledge, he died indirectly due to the protagonist's "accomplice" behavior. The tragic core of this "unintentional patricide" can be read as an allegory full of Oedipal guilt. It may reflect the author's inner complex emotions about his relationship with his father (or father figure), as well as his heavy imagination about "the price of knowing the truth." 3. Zong Zhengxi (mentor/ideal fatherly integration): This character eventually becomes the protagonist's spiritual guide, protector and emotional destination. He combines maternal tolerance and paternal guidance, and is an integrated and ideal "father object". By the protagonist finally throwing himself into the arms of this image and finding his identity, the author seems to be expressing a deep desire to "be unconditionally accepted" and "obtain ultimate healing" - to find a powerful object that can truly "see" and integrate all his fragmented identities. Core psychological theme two: traumatic compulsive repetition of betrayal and trust The novel is filled with betrayals of all kinds: poisoning by friends, deception by benefactors, deception by cronies. This pattern of "building trust - being destroyed - rebuilding with difficulty" cycles repeatedly in the text, forming a compulsive narrative rhythm. - The intimate metaphor of "poison": Tang Lan slowly poisoned him in his daily meals for several years. It is the most private, closest to the essence of life, and the most difficult to detect harm. This can be interpreted as a subconscious understanding that "intimacy itself contains destructive risks." The author seems to be expressing a concern: Behind the seemingly ordinary care and love, there may be hidden malice that can erode the foundation of life. - The core anxiety of discerning people's hearts: The protagonist repeatedly falls into regret and self-blame for "making mistakes", and even has fundamental doubts about his own judgment. This is exactly the typical psychological symptom after intimate relationship trauma - hypervigilance and paralysis of judgment coexisting. The author allows the protagonist to swing back and forth on the tightrope of trust and suspicion, possibly unconsciously repeatedly dealing with a deep-seated doubt about the reliability of interpersonal relationships, and a sense of despair that "even if I try hard to distinguish, I can't escape the fate of being hurt." Core theme three: The somatic expression of "disease" and the gravitational field of death The protagonist is poisoned by a strange poison, has a short lifespan, is blind and white, and has gradually weakened senses. These are not simply sadistic narrative elements, but symbols with high psychoanalytic significance. - The body as the container and battlefield of the soul: From the perspective of psychoanalysis, somatic symptoms are often the "somatic" expression of inner conflicts. "Blindness" can symbolize "unwillingness or inability to see the cruel truth"; "grey hair" and "decay" are the external manifestations of exhaustion of vitality and inner "premature emotional aging"; "strange poison" is a perfect metaphor for "eroded self" and "internalized hatred". The author makes the protagonist's body "sick" so directly, perhaps he is writing about a deep and indescribable mental pain and existential depletion. - The dialectical tug-of-war between "desire to die" and "survive": Fu Chen yearned for "liberation" several times, but every time he was on the verge of death, he burst out with an amazing will to survive. This ambivalence toward death is the most typical tearing state in depressive thinking. By forcing the protagonist into desperate situations again and again and giving him life, the author rehearses the arduous struggle against the "death instinct" at the imaginative level, and at the same time strongly confirms the subconscious's absolute, almost instinctive desire to "live". Core Theme Four: Final Integration—Return to "Same Dust" and Original Love The ending of the novel finally leads to a kind of tranquility and reconciliation after the disaster. The protagonist gave up the highest authority in the world and retired to the mountains and rivers with his loved ones. - The spiritual core of "Tongchen": As the spiritual core throughout the novel, "Tongchen" means letting go of the false attachment to "nobility", "purity" and "correctness", and instead accepting the "earthly" complete existence full of flaws of oneself and the one he loves, and finding the ultimate peace in each other. This can be seen as the author's deep yearning and poetic expression for "radical self-acceptance" and "integration in an equal relationship." - From "power fatherhood" to "earth motherhood": the novel repeatedly appears in images such as snowfields, valleys, and hometowns, and finds the ultimate "home" in the vast nature of the Hu and Qiang tribe. The protagonist's final choice is to stay away from the center of power, to travel, to feel, and to return to a life closer to nature and the origin of life. This symbolizes that the protagonist has finally chosen to retreat from the fierce male competition field of "fighting for patriarchy/power" to a (symbolic maternal) field that is closer to the earth, nature, nourishment and inclusiveness. This may reflect the author's deep subconscious yearning for ultimate peace, unconditional acceptance and a primitive sense of belonging. Summary: "Red Crow" is a sad and tender epic about "how to rebuild oneself on the spiritual ruins". Through this work, the author profoundly depicts the entire psychological topography of a soul from being "abandoned by the world" to "gradually claiming itself." The core psychological issues explored in the novel can be summarized as: 1. Who am I? ——In the chaotic definition of "other", struggle to piece together and finally claim a true and complete self-identity. 2. Who can I trust? — Dealing with a fundamental distrust of relationships that may stem from very early experiences, and learning how to open up to the world again. 3. How do I live with my history? ——How to achieve the difficult reconciliation with one's own history when faced with the "traumatic legacy" (blood, moral, sexual) caused by others but that must be carried by oneself. The ending of the novel is not a simple HE, but two survivors, covered with scars and guilt, choose to face the unknown rest of their lives together. This is not a utopian fantasy, but a more mature, compassionate and courageous imagination of life. It shows the powerful and tenacious part of the author's soul - a profound belief that even if one knows the darkest truth, one can still choose to love and live in a loving way. The whole novel is the author's free association on a grand scale, with strong emotions and precise structure. Through this creative act, the author not only constructed a thrilling fictional world, but also completed a profound perspective and integration of his own spiritual picture.
Do you still have to live after this life is so hard?
It's such an epic and great long article, but it's a pity that so few people have read it. It can be seen that the author's writing skills are still very good, the plot design is also very grand, and the protagonist is really not easy. I would like to make a few personal suggestions. Too classical Chinese may not be easy to read, especially in the early and middle stages of the plot where the protagonist and supporting characters test each other's words, and the protagonist has some changes and realizations that are a bit hazy. It would be better if there were more explanations, making it easier to assume the role of the protagonist. In addition, strengthening the sense of paragraphs before and after some important plot points can make the plot read more clearly. I'm quite curious about Zong Zhengxi's real life experience and the story of Asheng's mother. I thought it would be unfolded, but it's a bit of a pity. Looking forward to more great new works from the author's wife!
It's finally finished. I feel that the main character is so miserable QAQ. I don't ask for anything from the main text. After reading it, I hope that the extra desserts will be sweet and let me know that their life will be better in the future, but I don't care too much (if I care, I have already abandoned this Qingqingqingqingqingqingshui novel with one million words and less than 100,000 words). I feel that the author is awesome. If I want to be in the novel, I am afraid that I will not survive five chapters. In short, come on!
Recommended reading Meditation reading? I finally finished reading it, but it seems like I haven't finished it yet? The fictional historical theme of "Human Luanyan" is very open. People from all walks of life appear on stage. The writing and reading are all hearty. It is easy to conquer a country but difficult to defend it. Wolf cub is really a wolf cub. After reading it, we found out that he is a mixed race of Yan and Hu, and his identity is very good. The process of revealing is a painful growth (I want to know how his parents met each other and fell in love);
I think there are so few collections, maybe it's a problem with the copywriting, because for me, the wording of the first two copywritings makes my scalp numb, and I can only feel that it's like writing in elementary school and junior high school (not that the author's writing is not good, of course it will be better, but this kind of piled-up feeling makes me dream back); on the other hand, it is true that the content inside needs to be read slowly, the content is very rich, and the skills are also there, so those who just seek to relax and read the article will be a little tired, and sometimes I don't want to read it. I haven't actually finished reading it yet. From the titles of each chapter, I can feel that the author is very sincere and the writing is generally smooth. I feel that this article is really good in the current Jinjiang Gudan. Finally, I hope the author will work hard in the future!!! The first article is really good! (I will read it as soon as possible!)
Author, I think you should change the introduction to at least be more detailed. Although you have said a lot, it feels vague. If you make it more straightforward, it may be more attractive.
When was He Libao arrested? Why didn't I see it? Did I miss the chapter?
The author should also be very knowledgeable about cultural relics. Many of the details of the objects are described very carefully. The Taotie pattern on the bronzes is so high-quality. The description of the characters is also very good. I am really looking forward to it.