Blade of Reckoning: A Folk Horror Saga

The protagonist upgrades too slowly, and the level of participation is too high. The protagonist in the previous book participated in battles in the Mahayana period during the foundation building period. The same is true for the protagonist in this book. The level is getting higher and higher, but the strength is not increasing, which is a bit outrageous.

I think your biggest problem is that the world view is too big. In the middle and late stages, it involves various gods and gods from multiple worlds, and then the description of the macro background of the multiverse is foreshadowed, and the writing power cannot support it, and then it collapses. Pei Butu Gou also has the same problem. In the middle and late stages, there are so many different forces and roles involved, and the pig's feet have to be upgraded. If you have no idea, you can only limit the level of the pig's feet. Even if the gods are flying all over the sky, the realm is still small Karami. I was reading the Water Monkey recently, and it provided a new idea. It is quite interesting to directly promote in place to promote regional upgrades without changing the map.

Ever since the emperor published his article, he has been boasting about his great talents, his thoughtfulness, and his master of balance. The kings of the feudal lords everywhere were trembling, and the major religions were so frightened that they dared not disobey him. Let's take a look at the specific performance. 1. There are no emperor's chess pieces in the palaces of the major feudal princes. At the same time, the violent institutions directly under the emperor have no secrets and no regular reports. The local guards who are now present have either rebelled or are using their power for personal gain. The local supervisory agencies are in name only. Almost all major news comes from either the protagonist or the major leaders. 99% Of local officials are suffering from lung cancer, that is, It is said that the emperor's control over local areas and vassal kings is almost zero; 2. The emperor can command only one of the top ten masters in high-end combat power. He has no royal background and no training team. The firearms organization he relies on is penetrated like a sieve. The official high-end combat power on the scene has been stretching the hips, and the status of firearms has been directly raised. The top ten masters can only produce 200 muskets per second. What is funny is that most of the firearms that appear are in the hands of villains. To sum up, the emperor is a disabled child who cannot see or hear. He wields a high-end firearm as a fire stick and tries to intimidate the miscreants who come forward. At best, he is the emperor. At worst, he is just a puppet chosen by major sects and villains. To be honest, no matter how much you brag about the counterinsurgency in the Southwest and Southeast in the later stage, my feeling is that without the major religions and protagonists, your official army will be defeated at a stroke. The official army has no way to arrange the villains. They will only use human lives to fill in the gaps. If there are not enough people, they will kill the leader and replace the wave to continue filling in. Without the protagonist, the progress cannot be pushed a little, just like the stupid NPCs in low-energy online games ten years ago.

The author writes very well at the beginning of each book, well, there is no back part. If the author can write the latter part well, at least he can become a god without collapse. It can be seen that the author will not write the later plot at all. As long as the protagonist's strength reaches the peak of the initial map, the subsequent plot will be like riding a rocket and quickly enter the finale. There are several common ways to deal with it: 1. Just make a map with a fixed upper limit. Explain the upper limit at the beginning, and then write the middle part deeper and thinner. For example, in the fantasy rebirth novels that were common in the past, the protagonist was the strongest and invincible existence in his previous life, and he was only one step away from reaching the highest realm and being reincarnated. 2. Keep changing maps. Every new map you get is basically at the lowest level, and then you work your way up step by step, without changing the medicine. This is also a very common old routine, such as the perfect world and countless others. 3. Set the flow. The highlight of this kind of book is not the protagonist, but the setting. For example, the original world view depicts the world view, and the profound and detailed description makes people feel as if they are actually there. It has a strong sense of picture and allows readers to directly enter the novel. Most of the novels that started a genre are highly regarded, even if they have major flaws. (Setting flow is the easiest way to become a god. A good setting is worth tens of millions of strokes)

Some people have opinions on this, indicating that there is something wrong with it. But the core point is that it is not an issue of age difference or character design, but that no one wants to watch the supporting characters work together for CP, and no one wants to watch the emotional drama of the supporting characters!! This thing can be said to be one of the poisonous points of Internet literature. Of course you can quote what is written in Jin Yong's martial arts novels about group portraits, but we read online articles. In online articles, it is always right for you to write about the main character filling the cup, the main character lying drunk on the beauty's lap, and the main character taking first place. Your enrichment of the supporting characters' lives may not necessarily conform to the fast food aesthetic.

The characters are not vivid enough. To be specific, the characters are not very consistent, including the three main characters. It is stated at the beginning of the chapter that the protagonist is a "difficult ghost". He is fierce and calm when killing wolves, and does not suffer any loss afterward to ask for benefits. As a result, the following text is less, and the difficulty is rarely mentioned. In the introduction, the protagonist should be a character who is afraid of ghosts and gods, and is ruthless and vicious. There should be some dangerous qualities, but they are not reflected at all. He has become a positive character. He is a little bit poisonous in avenging his father. The previous chapters have all kinds of intense, foreshadowing, and mini-boss characters. In the end, he is killed by others, and the protagonist stands aside stupidly. The male supporting actor, Lao Sha Nei, starts off as a passerby who talks nonsense, is greedy for petty gains, and has no ability. However, he is suddenly promoted to a supporting actor. He becomes smarter, more witty, and more affectionate. He has knowledge and means and constantly adds characters, which is a bit fragmented. The Taoist priest is a little better, but not much, because there is too little written. Being with the protagonist is closely related to blessings and misfortunes. Every blessing must be accompanied by disaster. Logically speaking, the Taoist priest should have some ideas. If he follows the protagonist, why he follows and why he insists so much can actually be written down. The plot promotes the protagonist more like a butterfly, with less promotion and more like an introduction. There are various coincidences and accidents, and the most important thing is the lack of a main line. The golden finger is a bit weak, and now it's mainly about recovery in the later stage. I can't let go when recovering from injuries in a fight, so I'm a bit timid. I hope to upgrade it to a higher level and add automatic recovery in the later stage. (Test.) Otherwise, the protagonist's advantage is really not obvious. He has martial arts talent, but is not unparalleled in the world, cannot suppress the enemy, and the opponent is generally old and advanced, and the protagonist has no advantage. The protagonist should be given an advantage against the enemy that can be used as a common method.

The pace and style of the author's book changes drastically in the middle period of the book. The dangers and disasters that foreshadow the destruction of civilization at every turn are always skipped abruptly in the beginning, and the ship starts sailing after jumping over it. The tension and sense of crisis accumulated by the readers in the early and middle periods of the book are gone in an instant. After the style is seriously torn, it becomes a tasteless "tasteless" for the readers.

I almost want to give up. The writing in Shu and the capital is a mess. Halfway through the book, the protagonist is still wandering around on the fourth floor. Every time he faces the master among the masters, he relies on shady tactics. Every time he follows the enemy, he gets ashes. It's okay once or twice, but you become addicted to writing every time. , Chapters and chapters all talk about what happened to Emperor Daxuan. The Daxuan Dynasty was extremely tyrannical. Every time a demon did evil, the country and the emperor were like trash and couldn't do anything. The same is true for Taixuan Orthodox Church. Every time, they were slapped in the face before they concentrated their efforts. In the end, they had to rely on the little shrimp of the protagonist to end the fight.

Just like the previous book, I have no ability and always participate in high-end copies.

It's a bit disgusting to force someone to marry him😓. Just because the author doesn't despise Long Yan'er and is not worthy of the protagonist, he just leaves it to Lao Sha to be his wife. The relationship between the two is also inexplicable. And Long Yan'er shouldn't be too young, so he just rations it to a middle-aged uncle? Can't we portray Long Yan'er alone and have her join the gang as Lao Sha's wife? Isn't it possible to write an independent supporting character? Do you have to add some inexplicable emotional lines, so that after writing half a chapter, the two of them fall in love? 🤮