I Am the Immortal in the Gourd

A beautiful writer with exquisite writing style and a frequent visitor to the rankings. Each order is 20,000+ - Is the seabed beautiful?

Undersea or daily writing is more suitable for you, so pick up this book and enjoy it all day long! The evil girl is so awesome, I personally don't think any of the girls can beat the evil girl! ! I wish you a happy new year in advance🙂

I feel like the description of this novel makes the protagonist's character more mature than that of the villainess. I watched The Immortal in the Pot first, and then I watched The Evil Girl, probably because after about two years, I felt that some of the plots and dialogues in The Evil Girl were not as comfortable to watch as The Immortal in the Pot. For example, "Thank you for once rejecting my confession and allowing me to grow up." I would have definitely believed it if I read it a few years ago, but now it feels a bit pretentious and a bit like youth pain literature. The protagonist in "The Evil Girl" initially dreams of becoming one of the small group of elites, while the Immortal in the Pot is much simpler and has nine wives. It feels like the author's own views have changed. It is very difficult to cross class. It is not the work of one person. After all the hard work, is it just for the sake of standing higher? Even if you are talented and intelligent and get into a prestigious university, you are not absolutely sure that you will be able to progress steadily. The protagonist in Villain often starts to think, "When I become an adult a few years ago, I will be able to crush all your trivial things with my eyes closed." At that time, I thought, "Well, maybe it's not necessarily true, don't be too crazy." There is nothing more you can do to get to know and understand the world. It is also good to have a wife and children.

It's already Chapter 42 and there are still people discussing whether we should lose against a karate master in Chapter 18. How to put it, let's not talk about whether the protagonist of the online novel at this time should be deflated. There are too many discussions in this group, and it is too empty. No one can come up with a survey result to say what the average grade of the book is deflated at the beginning, and what about the smooth journey. Let's just talk about the comparison of combat capabilities between women who have combat training and strong (puffy) men who have not been systematically trained in real life. I am 189 centimeters tall, 97 kilograms (all fat), bench press 120 kilograms (the courage of my time). When I was a child, I attended a martial arts class taught by a professor from the physical education department of the university to earn extra money. I also practiced basketball in middle school. Before the soft tissue contusion of my right foot was bruised, I could jump on the spot and dunk with both hands (the courage of my time again). When I was in college, I took judo courses taught by retired National Games champion Liu Xiuping out of interest. I was deeply impressed by the first class, which taught me body-holding skills, that is, how to be thrown down and avoid injury. Because I looked the tallest and strongest, I was selected by Teacher Liu to demonstrate the movements for everyone. I didn't know at the time that this was the beginning of a tragedy that lasted for a year. The demonstration action was a piggyback throw, also known as an over-the-shoulder throw. After listening to Teacher Liu's explanation, I stretched my right hand forward, and for a moment I felt my sleeve tighten, and the gravity suddenly shifted to my head, and then I lay flat on the tatami. It is worth mentioning that being thrown over the shoulder has a sense of weightlessness and pleasure (disorder) like riding a roller coaster. After that, I studied judo with Teacher Liu for two semesters. I had many opportunities to fight back with Teacher Liu, who was nearly thirty kilograms behind me. I was about 85 kg at the time. Teacher Liu gained a little weight after he retired, about 55 kg. Most of the time, I was beaten instantly. There were a few times when I was able to use the Sacrifice Technique to drag me to the ground and fight with a solid technique, and then I was strangled and slapped on the floor to admit defeat. In this case, the defeat will be slower. Teacher Liu even suggested that I just sit on the ground and force myself to compete on the ground. It is really embarrassing. I have never done that. Since the judo class is taught by a female teacher, quite a few girls take it as an elective. Because my body shape looks the most intimidating, I am often asked by Teacher Liu to be a target for the girls to cultivate their self-confidence. Most girls can learn the correct throwing movements in one class, and then make smooth technical movements within two seconds that make me lie on the ground and look at the sky and hand over a book. That's most of it. I had to endure a small part that stretched my hips a little bit. I had to endure all kinds of imperfections. I landed on my shoulders, my elbows, and grinned when I fell to the ground. Teacher Liu also said, "Get up quickly, my skin is rough and my flesh is thick, I can't break you." I say all this just to support it from the side, but the advantages of height and strength in fighting competition are very limited. In the hands of Teacher Liu, I was like a toddler. If you have any different opinions, please feel free to raise them. If you want to learn fighting skills, you can also come to see me in Blacksburg, Virginia, USA. My friend is here and I have enough beef 😁😁 Attached is a picture of a middle-aged licensed hunter who has put on weight

I have been reading the book "Under the Sea" for so long, and I have been thinking about what I want to say from time to time, but either there is not enough time or the situation is not right, so I have not been able to organize the language systematically. I read Chapter 246 last night, sorted out my thoughts, and decided to share my feelings. I haven't been reading Hai Hai's books for a long time. When I read his last work "My Girlfriend is a Wicked Girl" (hereinafter referred to as "Wicked Girl"), I didn't even remember his pen name. This is probably because I read the wrong book and the wrong person. Only those who have written several good works in succession are likely to pay attention to the author. Judging from the author's two books, including the one I haven't read, "Absolute Ichiban", the author of Haibi should be good at writing stories with a modern Japanese social background; I personally don't have much preference for the works with a modern Japanese social background in the site, because if the author is not careful, it is easy to gravitate towards the second dimension; and if the two-dimensional theme of Japanese cities cannot be contained, it can easily become a strong otaku style - sometimes a strong otaku style is not a good thing. So, does the book "The Immortal in the Pot" on the bottom of the sea have a strong house flavor? It doesn't count. After all, one of the main reasons is that the initial design of the female characters is stereotyped and too harsh. The female lead, Chitose Sato, looks like she will win with yellow hair, but in fact, she is defeated by golden hair at every turn. She is tired by standards, has a small body, a sharp mouth and a heart, and seems to be a think tank. The second female lead, Tomoyo Minamizo, looks like Yamato Nadeshiko on the surface, but is a vicious domineering woman on the inside. In order to pursue power, she can ignore the constraints of moral ethics, and her good skin can be sold. As the saying goes, everything black when cut straight and long is black, and it represents force. The third female number, Reika Inuginin, is a bossy, rich, idiot type of young lady, with a simple personality, a little trembling, a typical harmonious version of the curly-haired Princess Jianning, who is responsible for the purse strings. Female number four, Misaki Maekawa, is a mouthless type of wife, gentle and kind-hearted, with maximum feminine power. She is very aggressive towards the male protagonist. She uses practical actions to explain what it means to be a big wife type who "doesn't fight or fight" and is responsible for housekeeping. Female number five, Misao, has a little devil character, does not pick troubles and is uncomfortable with Sky, is greedy for money and is argumentative. She pretends to improve the relationship between the girls, but in fact often does actions that have the opposite effect. When the plot progresses slowly, she acts as a deus ex machina and is responsible for making complaints. Female No. 6, Xiaohuali, Misaki's daughter, an innocent little girl who lacks father's love and likes dogs. She needs entertainment to dilute the loneliness and loss of a single-parent family. She is the son of a son and the daughter takes on the responsibility. So looking at it this way, Hai Hai has actually prepared a fully functional harem for the male protagonist. The focus is not on the harem, but on the complete functions - basically in the two-dimensional harem, all the types needed for the male protagonist's "magnificent" rise are ready. It just depends on how late the male protagonist conquers it. From this point of view, the author is not unkind to the male protagonist, and is even a bit too superior. But on the other hand, those who don't like this routine either think it's tacky or they think it's nerdy. Fortunately, Hai Hai's characterization ability has solved this problem: If you think Chitose is a bit like Lin Daiyu, I will arrange a good mother and father to assist her. Do you think Sanzhi is OOC? I just described her as "having a love affair" and she had to follow the script and be naughty to the dead book. If you think Lihua is ignorant, arrogant and mean, I will arrange a scene where she is worried about her father being in danger. So it is not a problem that the main female roles and characters are stereotyped. The key is that the subsequent shaping must be successful. This can effectively reduce the greasy feeling caused by house smell. Then why is it said that it does not count? Because of the character of the male protagonist. The character design of the male protagonist is not because of the typical starting point of "parents worshiping the gods" who was born in an orphanage, nor is it the typical savior stereotype of his spirit passing through Japanese male high school students, but because of the Stitch Monster setting given to him by the background, that is: Aura recovery + open small world Aura recovery in Japanese themes, it is easy to write as "Hundred Demons Walk at Night", or to be more funny, "Hundred Demons Walk at Night Again". Subconsciously, the revival of spiritual energy is equated with the reactivation of traditional Japanese monsters. The words must be called Tamamo Mae, and the battle must beat Shuten Douji. Soon the whole book will fall into a strange and popular doujin or semi-doujin state. Hai Hai did not do this. He chose the "maybe you can see some shadows, but my writing is definitely original" type of strange monsters and ghosts. This avoids the over-playing of some jokes and also brings a certain sense of freshness to readers. Let's talk about the small world. The trick the author created for the protagonist is called the Demon Refining Pot. You can think of it as a disguised system/cheap finger and a main mission at the same time. Here, Haihai cleverly avoids existing works related to the theme of the Demon Refining Pot (such as the "Xuanyuan Sword" series). It neither tells you whether there will be other small worlds or even large planes in addition to the "Realm in the Pot" of the Demon Refining Pot; nor does it tell you whether there are other artifacts besides the Demon Refining Pot - everything is left to the reader's imagination and the author's progress in writing the book. Hideyoshi's gender is Hideyoshi, that's true. So, the book "The Immortal in the Pot", in a nutshell, is probably an "atypical Japanese urban mythological and immortal theme". In human terms, it is a complex of "big suture monsters". Having said all the good things, let's talk about what I think we need to be wary of: First, the male protagonist Zhang Wuji's behavior and anti-Asasi quirks. The so-called Zhang Wuji's behavior, in short, is "I want them all." On Binghuo Island, Zhang Wuji looked at Zhao Min, Zhou Zhiruo, Xiao Zhao and Yin Li and wanted them all. In the end, due to indecision, Yin Li figured it out and Xiao Zhao left, leaving only Zhao Min and Schrödinger's Zhou Zhiruo. It is true that due to the many restrictions in the current creative field and website, the option of starting a harem or even working as a bulldozer is becoming less and less favored. There are even extreme groups where virgins and men are single heroines and then stay together. However, if the author really wants to open up the harem and create an eclectic one, he should not repeatedly jump between the many ambiguities and the heroine's sweetness, because the reflection on the hero is that he keeps switching between "I only love Chitose" and "Think about Sanchiyo." Once you can say that the male protagonist is a young man with little experience in love. Twice you can say that the male protagonist is young and vigorous but has a weak mind. Three times you can say that the male protagonist is greedy in his heart and I want them all. If this situation is not handled well, the male protagonist will become a greasy scumbag. Not only will it not make people laugh, but it will also make them disgusted. The opposite is the inexplicable anti-Asashi quirk of the male protagonist. We all know that the male protagonists in Japanese works often do not distinguish between enemy and friend Asashi, do not distinguish between priority and priority, and sometimes even do not distinguish between male and female Asashi. I don't know how to deal with it here, especially towards the golden retriever Reika, and often towards my sister Misa. It seems that I have exhausted my patience and goodwill with Chitose and Michiyo, and I only have scolding and impatience with Reika and Misa. Although Reika is an idiot and Misa is a busybody, if the protagonist only treats them impatiently, it will undoubtedly become a failure in character creation. Secondly, the male protagonist is in the "two worlds" stage where he urgently needs to change. Currently, the male protagonist is still satisfied with the stage of "taking materials from the human world to the realm of the pot, and pouring manpower and treasures from the realm of the pot to the human world", which is referred to as "picking up girls outside, and lubbing foxes at home". It is easy to write about daily life at this stage, but once you go further, it will not be easy to write. For example, what will happen if you continue to shuttle back and forth between the two worlds under more waves of magic, and what kind of changes will occur, all depend on the author's proportion and conception. Limited by the author's daily update speed and quantity, we can only wait and see. Third, the growth rate of the main characters is slow. This point and the second point are actually two sides of the same coin. Although the male protagonist expresses worries about the future demonic tide, in fact he is still generally in a state of contentment. This is not a good phenomenon. If the author intends to abuse the protagonist here (for example, setting the difficulty of the subsequent demonic tide to increase exponentially), it will be regarded as a poisonous point by many readers; and if the author continues to let the male protagonist grow up step by step, it will inevitably become a light novel with most daily parts. In fact, for such a work with many comprehensive elements, the author should have a relatively precise division of the proportion of each section - how many chapters are for the exploration of the Huzhong Realm, how many chapters are for the contact between the two realms, how many chapters are the novel experiences of the people of the two realms in the new environment, how many chapters are for dealing with the demonic tide, killing monsters and grabbing treasures, and how many chapters are for getting tired of his girlfriend, etc. The different components should complement each other rather than compete with each other. Again, given the speed and number of updates the author makes every day, this one will just have to wait and see. Fourth, the author's laziness in adapting the character design from previous works I believe many readers have the feeling that the character of the female character in "The Immortal in the Pot" is intentionally or unintentionally referring to "The Evil Girl". To put it nicely, it is called reference and mapping; to put it worse, it is just copying. Although this is convenient, it is not conducive to the author's further honing of his writing skills and the conception of subsequent works. In other words, character templates are easy to find, but character creation is difficult. Look at the bottom of the sea and be careful. Above.

There are as many people who like Fuyumi and Milkshake in The Villain as they hate it, but it doesn't matter, because the male protagonist is the best character portrayed. No one dislikes Mr. Kitahara. As long as Kitahara can stand, this book will stand. Some people like and hate Michiko and Hakuba in Ichiban, but it doesn't matter, because the male protagonist, Mr. Chihara, is the most outstanding character portrayed. No one dislikes Mr. Chihara. As long as Chihara can stand, this book will stand. Some people like Chitose and Michiyo in "Tonchusen" and some people hate it, but it doesn't matter, because the readers' dislike of the male protagonist overwhelms all of this. As long as Kirihara pulls his crotch, this book will pull his crotch. Why do you say that? Because harem texts are designed to provide all kinds of girls. If you don't like one, you can like another. If you don't like Fuyumi, you can like Yoko. If you hate milkshakes, you can like Yuki. But the male protagonist cannot collapse, he is the core, he is the bearing. He can be ordinary, he can accept temporary failure, he can risk his life and be afraid of death, he can even be a scumbag! But the only thing you can't do is have a weak heart, and you can't make readers feel aggrieved! Because the reader becomes the hero! We may also be cowards in reality, so that's why we read novels, right? Are we going to continue to be cowardly and make ourselves feel aggrieved in novels? I dare to assert that the performance of this book is declining sharply. I believe that the silent majority have a strong balance in their hearts. I would be happy if slapped in the face. Because even though I abandoned this book, I still want to read the next one under the sea. I will always have high hopes for anyone who writes evil women.

That's it

As a fan of novels, I started from the city in 11 years old. There has never been an author who can let me read every book he writes without making people feel stuck in my throat. Along the way, the style of the seabed makes me happy the most. It is not that his novels are outstanding, but his novels always make people feel at ease. From the gods to the current pot god, there is always a gentle Yamato Nadeshiko, who is like a harbor where I can always retreat, a private place, very warm and practical. Maybe this is what a boy yearns for the most🙂🙂🙂 So, I will never give up if I stay at the bottom of the sea😜😜😜

Maekawa Misaki's Repayment

Updated a 6,000-word free extra in The Villain