Blood Tax

After watching the first part of "Blood Tax", I will come back to review it. This is a book that is not very suitable for the look and feel of online literature, but at the same time it is a book that integrates online literature with traditional literature. Youshu's low rating is justified. The first one or two volumes of this book will make you confused, especially the first volume, which will make you think it is a magically modified "Harry Potter", but this is just a foreshadowing for the subsequent plot. This kind of big plot (millions of words serving a big plot) is written in a way that is extremely inconsistent with the perception of online literature, but it is real, and when all the truth is revealed, you will really feel that it is like a real history. Secondly, some of the characters in his plots seem to be "forcibly reducing their intelligence". For example, when you first go to the academy and encounter a sea monster, or when the enemy sieges you and there is a chance to escape, you will not run away, but stay and hold on. These plots seem extremely intellectual and even illogical, but placed in a world with a Cthulhu background (the high-level sanity values ​​are not high), and from the perspective that different forces have different interests, these seemingly intellectual plots are actually extremely reasonable. Once again, his protagonist is not an absolutely good person, and even stands in the position of an aristocrat and tries to fight against exploitation. This is undoubtedly a huge poisonous point for today's Internet literature, but when we return to the world of novels, this position and choice is inevitable. The protagonist is not an absolutely good person, he is a "blood tax" levied, and he can abuse furu for information, but he is a real person, a person who fits his class status and role. The above points all lead to "Blood Tax"'s rebellion against the perception of Internet literature, but it is also an excellent work that grafts Internet literature and traditional literature. The above shortcomings that are not in line with the perception of online literature are precisely the efforts of serious literary writers to pursue literature that is more authentic, closer to history, and logical. But "Blood Tax" uses all this to serve a different imagined world, a world where DND and Cthulhu are mixed. What is the biggest attraction of online articles for readers? The most intuitive one is Shuang. Internet articles simplify the love, hate, madness, pain, joy, and silence brought about by traditional popular novels focusing on the storyline into one word "Shuang", hence the title "Shuang Wen". But Shuang can be copied, and short videos are copying Shuang with a lower acceptance threshold. Therefore, apart from the unreliable coolness, the real core competitiveness of online literature is a completely imaginary world. It is precisely in order to create a world and serve that online literature has a length that far exceeds that of traditional literature. "Blood Tax" is a model of world creation. Apart from the jokes of magically modifying other works, we will find that the world view of this work is extremely self-consistent. At the same time, it is different from the setting of a simple world of the party. "Blood Tax" shows a completely different world with a complete story and distinctive characters. This is a story about heroes and a story about redemption. This is a story about doomsday in a sense, but it is also a story about igniting hope with love. It contains too much helplessness, separation, and death, but I believe that in the next two volumes, our Griffith will eventually transcend all darkness and bring the light of redemption to the world.

"Blood Tax" is a story that I have been preparing for many years. The earliest idea came from "The Red and the Black", and I even considered a similar name for the original title. The red army and the black mysterious side also happen to be the core of this book. It's just that the novels of this era cannot allow Griffith to lose himself in his interactions with Galadia and Sonia, and die worthless in the end. Stendhal, the author of "The Red and the Black", makes a guest appearance in this book together with the protagonist Julien as Count Larmore's secretary Armance Soren (Sorel), but this time Miss Larmore will not give it away for free. 1. World view The world map of this world is similar to Byzantine Rome. I have hinted at it many times in the book, for example, in 1453, the capital in two sea areas (the Aegean Sea and the Black Sea), the Eastern Province on the other side of the strait from the capital, and the large river and grain-producing area (Nile River) that flooded from south to north in the Southern Province. I even used place names such as Odessa, Sevastopol, and Izmir directly, and I just missed writing the word Byzantium. This world is the world of real Cthulhu. The real god will almost never appear. Once he does, he will be in despair that cannot be resisted. Just like a sailor on a ship looking down at the never-ending rolling waves, strange shadows appear under the sea from time to time, and there are also strange things that are beyond common sense. If these things appear, he will definitely die. However, he may not have encountered these strange things in the end, but was drowned in the sea because the ship was torn apart by the storm. Based on this background, under certain circumstances, people in this world will lose their sanity due to the terrifying existential radiation and lost power, say crazy things (referring to JOJO memes) or become crazy (referring to the behavior of P Club players). 2. Combat Power Setting Sequence 8 is the backbone of combat power in this society. Many important magic items require at least Sequence 8 to be activated. This condition is also the minimum requirement for becoming a knight class and a mage stationed in remote areas. Sequence 7 has a relatively strong combat power and can serve as the leader of the Beyonder team or the commander of the army in a certain region. Most extraordinary people will be at this level for a long time. Galadia has a special setting, which allows her to do things that other Sequence 8 or Sequence 7 people can't even think of. Sequence 6 and above are called Extraordinary. Their extraordinary abilities can be projected under certain circumstances, forming effects similar to Noble Phantasms. The level of power is very different from that of Sequence 7. The protagonist's squadron leader Erza Valkyrie is such a character, and she has a very important plot in the later stages. Furthermore, extraordinary strength is not the only measure of strength in this book. Physical strength and other unknown forces are also powerful, just not as common. For example, a demon wolf without extraordinary characteristics can defeat an entire group of dismounted armored cavalry by charging (refer to the use of war elephants to charge the garrison in the Roman war). Organization, techniques, tactics and quantity are very important. A team of Sequence 9 armored cavalry can basically succeed when besieging a Sequence 6 one; a powerful mage is more like an artillery unit and is likely to be defeated or killed without proper cover; Rana, who is very strong in terms of setting but actually very strong, can be knocked over by a few goblins without helmets and equipment; the protagonist has repeatedly blocked the terrain and defeated the superior enemy. Future stories will also show that extraordinary strength is not the only factor that determines victory or defeat, which is one of the themes of this book. This can be regarded as some of my own innovations after reading so many fantasy novels. 3. Money and Society Beyeland's city prototype is a synthesis of Constantinople and Paris. Victory in the war brought more colonies and investment opportunities, and money flowed into the farms and mines of the new provinces, diverting investment. The money could have been used to accelerate the industrialization of the world, such as the steel and textile industries, and Beyeland would become rich and empty. The powerful wizard class can claim that the city belongs to them rather than to the craftsmen, vagabonds, and traditional military nobles. The study of magic is their highest pleasure, regardless of the fact that most people cannot use magic. There are also some people who are not satisfied with this, and they will work hard to push the wheel of the times and involve the protagonist and his friends. The currency system is a synthesis of the franc system at the end of the 19th century, with reference to a large number of famous works such as "Beautiful Friends", "The Red and the Black", and "Les Misérables". I made adjustments according to different stages of wartime and foreign trade and investment. At the beginning of the first volume, due to the wartime situation and the shortage of supplies, 1 silver lang was equivalent to nearly 100 RMB. At the end of the first volume and most of the subsequent period, 1 silver lang was equivalent to about 75-80 RMB. The first volume is the one I am most satisfied with. Although the length and story layout are limited, I cannot expand on all the settings and foreshadowings. However, after repeated revisions of the plot and rhythm control, I think it has reached a high level before and after winter camping. There will be several small volumes and small plots next, and the core of the first stage is arranged in volumes five and six.

Are there any recommendations for novels similar to Blood Tax? 😁 I'm also following Bloodline of the Kingdom, and Steel Steam and Fire are also okay. I haven't found a fantasy novel with more than 500,000 words that suits my taste recently 😐. As for Blood Tax, there is nothing that can beat it (><)

The author, Pigfoot, is a person who crawled out from the dead. He has died countless times. He is not facing a god. Why should he be frightened or shocked just when facing a slightly stronger opponent? Very out of character, you know? When I was beaten for the first time when I was a student, I was so frightened that I trembled, the second time I was so excited that I was trembling, and the third time I was expressionless. Even though I was beaten to the death, I never felt panic. So, let me ask him, a little general who has fought to the death in hundreds of battles, and he is not facing a god. What right does he have to be frightened? Tell me, why?

The author writes well, but there are three problems. First, the Harry Potter flavor in your book is too strong, which affects reading (I am a Harry Potter fan). Even if you are borrowing from it, there is no need to draw on some plots, such as the twins and the names of the schools, which happen to be four colleges. These are completely unnecessary and greatly affect reading. How can I put it, now I feel an unpleasant feeling when I see similar plots in books. Secondly, I can't always remember the names of the people in it. Often when a name appears, I have to think for a long time before I can figure out who it is. The author has to think of a way, but as for me, I am a scumbag and can't find a way. Third, the protagonist's master is Sophia. You always arrange for him and the elf (didn't remember) to have previous activities, which is completely inconsistent with the identity of a knight (don't accuse me of being servile or anything like that. The protagonist is a native and he is a knight. Judging from the author's description, he is indeed filial and loyal to his master, but this writing is completely inconsistent with the character). Finally, come on, author, this is a rare masterpiece, with a grand world view, a reasonable economic system, and a unique writing style. The current combat power estimation system will not collapse (never one person becomes an army). Friends passing by can take a look.

The moment for the show has arrived

High emotional intelligence, excellent combination of online writing and traditional writing. Low emotional intelligence, online writing is not online writing, and tradition is not traditional.

Many people are praising me, so I won't go into details about the good parts, but focus on the uncomfortable parts. In short, the core is that the main plot is too fast and the hidden plot is too complicated and urgent, resulting in the protagonist lacking a clear inner driving force. He is more like an NPC set up for the plot than a living person, with divinity higher than humanity, and reason higher than emotion. For readers, such a protagonist is indeed helpful to look at the story more concretely out of the novel environment, but for the reading experience of online articles, it can undoubtedly give a very poor evaluation. The human heart can sometimes be compared to metal, but it cannot always be metal. Curiosity, doubt, suspicion, laziness, and arrogance are all processes that the protagonist of a realistic novel has to go through. For example, the saint of Anjou sacrificed herself. Revenge is of course the first driving force and it is the main story that has to be told, but is there possible anger in it? Regret? Introspection? Sad? Almost no mention at all. Geffy is like a tool man who specializes in revenge plots. Because his lover sacrificed himself for God's force majeure plan, he wants revenge. After revenge, he can start a new life. Then the next paragraph continues to repeat the lover's sacrifice of himself due to force majeure (the fate of the elf), another tragedy to suppress emotions, and then a new life. It is understandable that the growth of protagonists in general realistic novels relies on relatively powerless and realistic tragedies, but there should be a soft landing and buffer, instead of me eating hot pot and singing, and suddenly being robbed by bandits, many times. Writing novels is not like leeks. Metals also have fatigue thresholds. It is indeed difficult to write about spiritual growth in the face of resistance, but there is growth. A good old investigator will pack up his armor with many friends and set off for adventure, instead of sitting by the river and constantly flapping his friends. This is also a reflection of Geffy's strong NPC character. He is always tireless on the charge, but does not fill his ammunition with emotions. The author's emotional drama is well written, but it is not deep enough, so the inner drive is not enough. The feeling can probably be summed up in this sentence, that is, the hatred is not deep enough, so the love seems not deep enough. The too trivial alternation of emotions disrupts the pure rhythm. Even if the subject is a scumbag who has changed his mind, when he is in love, he will show that he is the one who loves her most regardless of life and death. But Guffey doesn't have it. Apart from emotions, other drives that support the core of his character are not pure enough because of his character. His ambition is not fierce enough (he does not have the ambition to become a king), his plunder is not greedy enough (he does not have the characteristics of being greedy for money and regardless of life and death), his justice is not firm enough (he does not abandon the belief in Satan), and his consciousness is not thorough enough (he himself is an exploiting class). Forging materials with excessive impurities can remove some impurities through continuous forging, but the final shape will be very brittle. As the protagonist, Geffey gives me the same impression. His inner drive is not enough to support the protagonist's position in a vast and real world view. He is too brittle and not thick enough.

I watched it all in one go yesterday, and my first impression was of a grassroots counterattack. But I read it again today, and I feel that the male protagonist has a big problem. It's not simple. First of all, the strangest thing is the first chapter. It is obvious that the male protagonist behaves like an amnesia patient. At first, I thought the male protagonist was a time traveler. But later on, the male protagonist behaves completely like an aboriginal, his memory seems to be completely fine, and his brain never hurts Then there is the quality of the male protagonist. After coming down from the front line, the male protagonist showed extraordinary strategic command and ability to fight in battle. At the time, I thought this was just reflected by the villagers. But compared with other colleagues later, the male protagonist is still much better, especially no matter what kind of enemy he faces, "as long as Griffith launches a charge, the situation will get better." Some people might say, isn't this a very common protagonist halo? But don't forget that the male protagonist is just a trainee knight who is not an officer. If the trainee knights all had this quality, it would be much harder for the author to write about generals, marshals, legendary creatures, and gods. As for the male protagonist's experience, don't you think that the male protagonist's so-called two years of military experience seems too rich? Those experiences combined together tell me that I have been a soldier for 20 years. I believe it. And now the male protagonist, who is over fifty, is the second son of the family. It seems that his family has never appeared. He even remembers only his comrades, as if he has no family. What is also very strange is that the male protagonist seems to have memory gaps several times. Many events often end very abruptly (such as a sudden ellipsis) and it takes several sentences in the next paragraph to suddenly realize that the previous event has ended. It's as abrupt as being in a desperate situation and suddenly waking up to find that you were in a dream and then finding yourself in a new place and needing to start recalling to explain the situation. The memory of the male protagonist seems to be constantly being revised. For example, he was in a desperate situation on the battlefield before, and then suddenly became safe. The memory told him that he was transferred away from the front line by a transfer order. Another example is that the ring requires flesh and blood essence, and then his memory suddenly tells him that there was a piece of octopus meat that he picked up and put in the bag. To sum up, if we rule out the possibility that these are the author's errors or his narrative habits, then the male protagonist's memory is likely to have been tampered with, added and corrected. My current guess is that the male protagonist either went crazy and was invaded by evil gods when he witnessed the tragic death of his comrades on the Eastern Front, or he was simply fed a large amount of false memories to make him think he was Griffith.

Dear book friends, when this book is about 1 million words long, there will be a story similar to the development, construction and preparation of field artillery, matchlock guns, and combat plots in the early Renaissance. I've finished saving the manuscript, but I'm still ready to optimize it further. Please ask book friends with relevant knowledge reserves to provide knowledge and suggestions. At the same time, fans and characters related to the research and development, construction and use of artillery are welcome to join this main plot line. In the plot, a character like Joan of Arc will appear and fight together with the protagonist and fan characters. The artillery officers of the fandom will participate in the important plot, which is somewhat similar to the technical experimental unit in Apocalypse of the One Year War (most of the members will definitely end badly in the end, but there will be a few HEs left). Considering that new technology research and development often involves madman-like behavior, the sanity value of the relevant characters does not need to be very high. The crazy behavior and remaining beliefs from time to time will be the difference between the relevant characters. I've got Jerry Lean from the Muppets Book Club involved.