Three Kingdoms: Following Huang Tian's Ambition and Defeating the Traitors Who Usurped the Han Dynasty

First of all, let's review together what I have written in the first 9 chapters of "Liu Bei's Rebirth of the Han Ling Emperor" that I have been recommending so far: 1. Liu Bei traveled to the day before the death of the Han Ling Emperor, and was immediately threatened with death at the beginning 2. Liu Bei gradually deduced that he was chronically poisoned, unlocked the first layer of life-threatening factors, and the situation eased slightly 3. Because Cao Cao happened to be in the rebel den when Liu Bei summoned Cao Cao, Cao Cao immediately threatened his life 4. Cao Cao's quick escape temporarily relieved the crisis, but the small yellow gate that sent the message was pierced by an arrow, and the atmosphere continued to threaten his life 5. Cao Cao planned to mobilize troops for Liu Bei, and was ridiculed by Liu Bei when offering food, which changed the atmosphere and eased it slightly 6. Yuan Shao and He Jin pulled each other, taking risks at every turn, and continued to press for their lives 7. The key role of Jian Meiren appeared on the stage, and Diao Chan's identity was foreshadowed 8. Wu Qiong stopped Chunyu Qiong from pursuing Xia Houyuan, but Xia Houyuan successfully risked his life and escaped from the city, and the situation eased slightly. But Liu Bei fainted after being attacked by a cold arrow, and the rebels entered the palace, and the atmosphere continued to be tense 9. Cao Cao moved behind Liu Bei's back, feeling annoyed and adjusting the atmosphere. However, Yuan Shao's first wave of strong attacks failed, and he organized a second wave of strong attacks, and the situation was still desperate 10. He Jin sent an envoy to negotiate a peace, and Liu Bei succeeded in intimidating the envoy. The situation seemed to have eased, but Yuan Shao killed the envoy and continued to pull He Jin, and the situation was desperate again The story rhythm of "Liu Bei's Rebirth as Emperor of the Han Dynasty" has always been a cycle of being desperate, relaxing slightly, and continuing to be desperate. With this rhythm, I read 62 chapters in one breath.   So what is written in the first 9 chapters of "Huang Tianzhi": 1. The refugee team arrived at the Taiping Sect camp with great difficulty 2. Become a disciple and show off their understanding of Taoist classics 3. Encountered robbers at night, and before they could get nervous, they were all wiped out 4. Li Mu, who may be the key figure in a certain move in the future, appears 5. He showed Tian Feng a skill in modern mathematics. Although in fact many people would starve to death if he failed, the atmosphere of the narrative was not tense 6. Zhang Jiao sent Zhang Bai and Zhang Bai to Yingchuan The above... As for whether things can happen as plainly as the first 9 chapters of "Huang Tian Zhi", of course it can. As for whether it can happen, of course anything can happen. But after something so ordinary happened, is this story good or not? It's definitely not as good as the first 9 chapters of "Liu Bei's Rebirth as Emperor Ling of Han". As a literary and artistic work, novels also follow the principle of "originating from life and higher than life", and appropriate "exaggeration" is necessary. For example, it will be written later that the court and the nobles did not pay attention to the disaster, but only pulled their own interests from each other, causing the disaster to become bigger and bigger. But how big? Can you include this in Chapter 1? Yes, in fact, the beginning of Chapter 1 describes the environment of the refugees along the way. But why do we need to spend more time explaining the above settings that "the court and the nobles will not..."? It obviously shows that the author himself feels that the logic of the behavior of some characters or stories later is not sufficient enough to emphasize it again. The explanation is written as before, which is not emphasized enough. Why is this happening? Because description of the environment cannot replace the description of the event, it can only play a role in rendering the atmosphere, but in the end it is the people and things that touch people's hearts. For example, since it was mentioned later that Bai's father did not sell Bai Mei or leave her on the road, but took her with her along the way, this was contrary to the general environment in which the refugees lived at that time, which was to sell their sons and daughters to make a living. So since Bai's father is unwilling to sell his daughter and even keeps her with him, will something happen to some people around him? For example, will some refugees say that you are great, you are noble, and you are wasting food with an extra mouth? For another example, Father Bai is unwilling to sell, but will someone want to buy it, so there will be another conflict on the road? These people and these things are intertwined. Compared with the description of the environment and the big principles later, it makes people hate the indifference of the court and the nobles to the living environment of the refugees more. Writing these people and things well can create a lot of desperate rhythms. And how to solve these people and things using modern people's ideas and at the same time in a way that is consistent with the environment at that time, this process can better shape the image of the protagonist. This is always better than directly confronting the setting of "modern people" in front of me and saying to me, "Look, this is a protagonist with modern advanced ideas. He has such and such ideals in his heart. Although he has not done anything yet, he just showed off Chinese and mathematics, but he is great." The most important thing is that this treatment does not change the original story outline, nor does it change the author's original creative intention, but the characters and concepts will become very flesh-and-blood, and the storyline will be much more ups and downs. There are many more that can be dealt with in the first 9 chapters alone. For example, since it has been mentioned that Zhang Chuan had the experience of being rude about superstition before, could he use this as an opportunity to kill himself before becoming a disciple of Zhang Jiao? As I write this, I realize that I don't even understand what the opportunity was that led Zhang Jiaohui to summon Zhang Bai. Just because I took a look in the crowd and thought Zhang Chuan's eyes were different?       ，，？       ， Can Tian Feng's bet be bigger, or can the tragic situation of shortage before receiving Tian Feng's donation be more specific and more desperate? Even since Zhang Jue is seriously ill, can he be made more desperate during the gambling process? In the end, only Zhang Liang and Zhang Bao were left to prepare to take action. I felt a little nervous, but it was not as desperate as He Jin and Yuan Shao were pulling each other.                                                                                                                                                                                                                       If all the people on the scene are not nervous, and are not desperate at all, then it will be difficult for me, as a reader, to understand, and to feel the desperate feeling of the successive natural disasters in the late Eastern Han Dynasty, and thus to hate the original behavior of the court and the nobles, and to praise the protagonist's future transformation of the situation. "Liu Bei's Rebirth as Emperor Ling of Han" is very good. On the surface, it looks like they are fighting all the way, but in the process, many warlords teamed up with the nobles to create all kinds of bloody tragedies for their own benefit. Then I will have a strong sense of denial towards the warlords and nobles in the story, and I can also identify with the actions of Liu Bei, Liu Yan, Cao Cao, Lu Bu and others, and even Sun Ce, Zhou Yu and others who appeared very later. But if instead of describing the sins of warlords and nobles through people and events, you write a long paragraph of settings in front of me, "Look, warlords and nobles are ugly!" Then I'm afraid I will branch out before agreeing with Liu Bei and others. Even if it is an ancient classic that is as precious as gold, it always has to tell a story first and then add a truth, right? For example, "Zou Ji satirizes the King of Qi for accepting advice" and "Touch the Dragon and Talk about the Empress Dowager Zhao". This is a literary work that uses people and tells stories.       ，， That's right, it's the one you wrote.

Killer God Bai Rao

Descendants of Zhang Jiao