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When the youngest mirror-wielding Taoist priest in Qingyang Temple pointed his sword at the silver-eyed zombie's throat, he saw the Taoist robe from his previous life soaked in a pool of blood from the other's heart. In the third year of the Republic of China, nine hanging coffins were swollen by mist and rain in the south of the Yangtze River. Tang Ming was ordered to investigate the case of a missing child, but he encountered a thousand-year-old Taoist corpse that should have been extinct in Yizhuang, a place where poisonous insects were rampant. The man's silver eyes reflected the moonlight from six hundred years ago, and amid the ringing of the ringing bell, the corpse-suppressing talisman drawn by him was branded on the other person's collarbone - exactly the same as the cinnabar curse mark on his heart. Deep in the Qingyangguan Underground Palace, the Nine Sons Blood Formation is refining the child's corpse into a key. The moment the bronze wall peeled off, Tang Ming saw his master holding the soul-locking nail made from his own spine, and the dragon energy surging in Sang Zhiren's silver eyes was resonating with the suppressed emperor's corpse in the dragon-locking tomb. The evil spirit that should be exterminated most became an old wound in his heart that has not yet healed. The right path that should be guarded the most is a lie soaked in the blood of child corpses. When the mirror of heaven and earth reflected the scene of Sang Zhiren kneeling in the rainstorm to save his life in his previous life, Tang Ming finally understood: In this six-hundred-year-old game, only the thread of life and death entangled in the same life contract can be used to cut through the rotten dragon veins under the Taoist robe.

1V1 "Chen Sichen, can you stop looking at me like that, I'm scared." "Lin Tiao, what are you afraid of? Can I eat you?" Si Chen = Death Tart Ah Qing, what should I do if I like you so much? I just want you to smile at me. Azhao, no matter how dark the world is, I will go through the darkness to find you. The male protagonist is a dark yandere and the female protagonist is a beautiful and rich second generation

The research object of "Research on the History of Contemporary Chinese Drama Criticism" is Chinese drama criticism from 1949 to 2019. Based on the process of historical development, this book outlines the 70-year development of Chinese drama criticism during this period. Through this research, it reveals the generation and evolution of contemporary Chinese drama criticism discourse, and elaborates on the interactive relationship between drama criticism, the development of contemporary Chinese drama, and drama creation and performance. This book is one of the series "History of Contemporary Chinese Literary Criticism". This book is the first monograph to systematically study and present the situation of drama criticism in contemporary China in the past 70 years. It is a good reference book for the majority of drama researchers and learners.

The stage is probably a kind of "elsewhere" in life. People who participate in theater performances and research, in a sense, all live in "elsewhere". The same goes for theatergoers, who observe themselves through life "elsewhere", thus making life itself more complete and meaningful. Fu Jin has a profound understanding and pursuit of drama, especially the essence and form of Chinese opera, so his drama essays always have an indelible feeling of pathos in his sophisticated writing style. We don't want to lose the spirit of "elsewhere" just as we don't want to lose life itself.