Master of Healing Game Development

I stayed up late last night and started watching it. I thought it was really good at first. Then I started to stretch my legs in the second story. After reading the latest chapter, I felt that I still had more to say than I wanted to and it felt a bit inconsistent. I couldn't tell what was wrong, so I came to the book review area. After reading other people's comments, I probably understood the reason. Although this old man's words are a bit radical, he is generally right. At least what I like to see is when the game is ready and released, the players scream in fear, how popular the game is, and the excitement of the protagonist experiencing a ghost story. In other words, in a novel, the protagonist has experiences, growth, and daily life. There are primary and secondary parts. It should be clearly distinguished, which parts should be written in detail and which ones should be omitted. According to my experience of watching videos posted by up hosts and doing book reviews on Bilibili: The "experience" of the protagonist is a "contradiction" created in the story line (just like a traditional online novel, where the protagonist encounters a villain who is not eye-catching and has a quarrel with him). Firstly, it is used to attract readers and gather attention; secondly, it is the starting point of a short story, leading to the "harvest" that follows. The growth of the protagonist is the "gain" of the protagonist in the story line (that is, the pretentious slap in the face in traditional online novels, or the treasure obtained after defeating monsters), which is a "cooling point" that makes readers feel happy. As for the daily life of the protagonist, it is an "embellishment" interspersed in the story line. The first thing that attracted me to this novel was the thrilling way the protagonist answered questions in the dormitory. The second thing was that the game was highly praised by players after it was released. In this regard, the author arranged it well at the beginning. The protagonist's dormitory answer is a "contradiction", using a thrilling ghost story to attract readers' attention and lead to the game below. The popularity of the game is a"harvest", which is the exciting point of the story. To be more specific, it is how the players are scared, how they boast that the game is fun, how they benefit others from the game, and then the game sells well. As for the daily life in the middle, as well as the process of being discovered step by step before the game became popular, they are just embellishment, which has three functions: 1. It is a foreshadowing for the excitement, just like wanting to be excited before suppressing it, to whet the appetite first, but the ultimate goal is to gain interest... 2. It is a lead that intersperses the plot to make the story more fluent. 3. After a large section of thrilling (Contradiction), a small amount of embellishment is needed to allow readers to calm down. And after the big wave of excitement arrives, the reader also needs to be slowed down to facilitate the follow-up. ——The principle is the same as after eating big fish and meat, you always have some dessert to relieve your tiredness. In this aspect, in the first story, it is barely okay, and it can be considered as detailed. But starting from the second story, in order to make the novel more logical, the author may not want people to say that the protagonist got something for nothing with a golden finger (or maybe the author does not like to get something for nothing), so he forced some daily plots, such as: setting up a company; The most outrageous thing is that the tasks issued by the system can reveal real cases that are not very difficult, but I did not expect that the protagonist had a fight with the villain BOSS Zhang Moumou in the cave. Many of the grumpy old guys who posted this are right at least on this point. It is best not to have supernatural phenomena in reality. The protagonist's encounter with a ghost can be interpreted as being pulled into a different space by the system, that is, the "spiritual world", and then returned through system props. But it's not impossible for people with superpowers to appear in reality, but it doesn't fit in with the main plot of the current book, or so I think. The most poisonous point of the story is that even if super powers are really going to appear in reality, can we not make a company look so NB?! How can we, Greater China, allow capitalism to cover the sky with one hand??? As for the so-called big boss who goes out to do things without taking care of his subordinates, that's not a big deal. If the official didn't find out, it was the construction company that concealed it. The protagonist had no evidence, but guided the very hard-working players to expose it through the game. That would be perfect. But the protagonist got the evidence and didn't even report it. He had to create a story that was afraid of the mastermind... Although it may be closer to reality, after all, the reality is not completely bright... But novels don't need to be completely documentary. The fundamental purpose of the novel is to make readers happy. Of course, if the author's purpose is to make himself happy, then pretend I didn't say it. In addition, the second story has a problem with the main line structure: the embellishments are too long, which seriously affects the reader's reading experience (the contradiction is not attractive enough). Another reason why the contradiction is unattractive is because the system has been weakened. However, compared to the "contradiction" which is not attractive but at least still exists, the length of Shuangdian has been completely cut off. It's not a bad experience at all, but it's okay. Readers who have always endured long-windedness will only be troubled if they don't blow up. When the excitement is not enough to satisfy the reader, all the shortcomings of the previous stories (starting from the second story) will not be tolerated. And it will be amplified. For example, the system is "weakened". In fact, this is the author's attempt to highlight that the protagonist is not getting something for nothing, and it is not a mindless cheat patch setting, but it is an insignificant part or even just because... Generally speaking, the second story has two flaws: First, in terms of article structure, the priorities of the story lines are not clearly distinguished. Second, in terms of content and plot, the pursuit of documentary is too much, resulting in reduced readability. It's not that documentary is bad, but it should be as documented as possible without affecting readability... This degree needs to be controlled by the author himself. At the beginning of the third story, the author has begun to realize the problem and made certain adjustments to the plot, but I feel that the author has not fully realized the root of the problem. Finally, my own personal evaluation: Update is too slow. All subjective comments in this post are based on personal opinions. They are not objective or professional. They are for reference only. If you feel something is wrong... It may really be wrong.

In fact, you can start from a dormitory and then go to a dormitory building, a teaching building, a cafeteria, a university, and then a city to slowly fill up a world, which can be distributed as DLC. Also, the ghost world should not be linked to the real world. The system can pick up a world with ghosts from the river of time and project the link to a world that only the protagonist can see. Then the player's fright value can be fed back to the ghost world, similar to Monster Power Company.

The protagonist is too naive, just like someone who has never read the novel. Even though we have a system, we are still suspicious, "Wow, there must be a ghost, I'm so scared." I can only say that my brain is not working very well.

The first one was quite interesting, and then the second one started well too, but what happened from the beginning of the investigation? The setting started to fall apart in the middle of the second dungeon. The rope that was set to be invincible could still be pulled by a ghost and almost couldn't get out? Is this forcibly creating a sense of crisis??? As for the reporter's soul, no one else can see when he talks to the protagonist. When the protagonist fights, can the reporter's son see it? What's more interesting is that the protagonist knows that the reporter is dead, but still wants to save the reporter from the spirit world? Are you trying to force emotions? The reporter's son is also inexplicable, because the protagonist comes to find out what happened back then, and then the reporter's wife says there is something hidden, but is unable to investigate, so it's all up to the protagonist, and then this kid follows the protagonist??? The most poisonous thing is the chairman. Everyone else is fine and can only say there are minor flaws. The chairman is so interesting. The city was weird before, but he turned into a fantasy and went to the meeting alone with the purpose of eradicating the protagonist who was still investigating??? Is this the chairman of a large group who can control the inside story of the subway explosion? Doing the dirty work yourself? And then use the magic method to control the paper man to turn into explosives to blow up the protagonist? The final cause of death was being pulled into the spirit world by the protagonist and being stabbed by a reporter??? You have to follow the first story, and it is still interesting, but the blood starts to collapse from the second story. It is really not an ordinary poison...

To be honest, the first game was pretty good, but the second one fell apart. First of all, when people with superpowers appear in the real world, the main world view of the setting will collapse. If there are people with superpowers, will the tricks in the first game be discovered? The protagonist's ability to use tricks will be revealed at the beginning of the game. What the second reader really wants to see is not a realistic horror plot, but something like a unit drama, the reactions of players, etc. Writing too many horror plots that involve reality in the novel is putting the cart before the horse. Thirdly, you have to make a game, you have to publicize real things, and you have to kill the villain of the chairman. Do you think everyone is just a freeloader? As soon as the game came out, everyone knew that you were related to the death of the villain. So how can the protagonist hide himself as a person who was exposed to the public because of the first game? Or should I take the initiative and say, "The villain I killed will raise ghosts"?

I don't quite agree. The author's first game was too exaggerated. I really don't understand how a horror game that only answers questions has the right to win all the awards. You say that it is immersive, that it is real, that it is exquisite and full of details, these are indeed advantages. But there is a fatal problem, gameplay. A game is not considered a good game unless it is scary and sophisticated. If you want to highlight its random elements, please describe the problem more. In short, the author is very imbecile. For an ordinary game, it's enough to be in the top three, but it won't be a direct win. Moreover, after winning the crowd, you still have to hate them to death. Doesn't this directly confirm that capital is pushing the protagonist to come to power?

To be honest, I came in just to watch the game. When reality shows up with super-realistic power, most of the expectations are gone. Isn't it better to just go the game route?

Anticlimactic, was it written for the shooter after it was released? See for yourself what is written!

At first, I thought it was an ordinary urban novel, copying real-life games and the like. Unexpectedly, it later turned to weird themes, which I personally like better. Especially when I saw Fang Lun's sacrifice and the ten-year-late letter, I really fell in love with this novel.

To be honest, reading these chapters on the subway made me ache. According to the author's setting, the higher the mental power, the calmer you will be when encountering something or something strange. The protagonist's mental power rising from 9 to 10 can be said to have undergone a qualitative change, right? I also gained a passive skill, which allows me to become extremely calm in critical situations. However, the protagonist does not show this at all later on. When encountering something weird, he will just run around scared to death. Not even analyzing the situation, he doesn't even have a calm mind. His skills and mental strength are like eating them.