Young Master, Why Not Become an Immortal Corpse?

No, buddy, this is the rhythm of things. Why do people in this world live? The protagonist wakes up for four days. On the first day, he digs a grave. On the second day, he is assassinated. On the third day, he fights zombies. On the fourth day, he fights evil spirits. Every day is very fulfilling. According to this frequency of accidents, why do these mortals live?

I saw that the protagonist's character card is 181cm tall and only 70kg. Damn it! Isn't this a mummy? It makes sense to crawl out of the coffin after reading the introduction (ಡωಡ)hiahiahia

Have you ever been a zombie? Some things are scribbled and taken for granted. References:

He is half less calm than that mortal corpse fairy, his cleverness is similar to that of Jiuxing Poisonous Milk, and his writing of folklore does not touch people's hearts. I always feel that it is almost meaningless.

After killing Princess Jiang, it felt like the protagonist had been taken away. Compared with the previous game, it felt like two people with the same name were separated.

Five disadvantages and three shortcomings are originally the setting of a novel. Taoists don't have this stuff at all. Why do so many authors like to do this stuff?

Why did you copy the Lord of Mystery's rally routine? You originally wrote it very well, but his routine has been written badly.

This book is pretty good, like a story-telling type, but there is something about the corpse fairy. This is the inferior method of becoming an immortal, and the protagonist's magical power is also restored to life. The corpse fairy is originally dead, and you are like Kui Ba. There is no one about recovery and upgrading. I can only say that the creation is quite interesting. After reading it, I just feel a bit dull.

How is the writing style? Can I read it?

[Micro spoilers] There is a lot of content, and the design of the plot points, both in terms of structure and settings, are very substantial, novel, and ups and downs enough, making it worth watching. In order to erase the true nature of the undead monster, I designed a killing method such as "a hammer to knock the undead fish into a grilled fish hammer". I think I will never be able to think of it in my life. But the problem is also here. Every plot point and design point cannot be developed and written in detail, combined with emotion and theme to make it enjoyable. Like the coffin transfer and meeting team in the early stage, the waiter system in the middle, the founding of the country through time, the clone army in the later period (almost sci-fi horror), Drift Island, and dungeons, if any one of the settings is taken out alone and placed in other books, it can complete the entire protagonist's growth arc, and use at least a dozen exciting points to repeatedly push the climax, but In this book, it can only be used as a plot promoter. The overall coherence before and after is very poor. The plot is always very rushed. I just throw you a dazzling setting, but it will be useless after a few pages and rush to throw out the next one. The reading experience is a bit poor, just like Yongli Taoist, the body and soul are separated, the coffin board is accelerated and drifts, and the soul cannot catch up. Throughout the whole book, the only ones that truly have a complete development arc are the stories of grandma and other family members and the protagonists, the story of the Liang family and the Ye family, Shen Caojun, and the story of the founding trio. These lines all have an arc of their own, and they also push the protagonist to develop an arc. In the end, they actually advance the plot line. It's cool and the plot points are distributed evenly and solidly, so it's very interesting to watch. As for the unlucky Taoist Priest and the yandere junior sister, the Oedipus mother and the cloned girl, the donkey head and the old man Fang, the golden man and the master and servant identity of the protagonist, these are the character lines that run through the whole book. Any one of them will be explosive. The high-energy setting, in the end, can only be regarded as a hasty ending, logical and reasonable, and the emotional effect is very weak. The master-disciple relationship between Saburo and the protagonist is only used to show off, without any real emotional accumulation (from the reader's perspective). There is only disciple filial piety but no master kindness. Their arcs don't even have the generals, and Yongli Perfection who only appeared in the later stages, because the arcs of these people are very simple and have clean goals. There is not much to explain and weave. At least Yongli's pain and kindness make readers very empathetic. There are also many unexplored character lines, such as the past of Yu Brainaxe (if it is not expanded at all, why do we have to show his prototype? It's all over, so I'm so happy. Frankly speaking, I like Brainaxe very much, I want rua), Dayin and their The 49th Heaven, Wenzu and Fazu, Taoist Master Xunzhen and Immortal, Zhou Wang and Saburo, and Duanbieli who came to Xianshan for no reason to make soy sauce (deleting him will not even affect the development of the plot of Xianshan), etc., Etc., I won't talk about them one by one. It's a pity. By the way, I am actually not very satisfied with the finale. Although it can be regarded as a dumpling ending, Yongli is too miserable and has too many positive descriptions. The author cannot forcibly give a bad name to one of the two parties in the conflict, thereby legitimizing the protagonist's violent solution, especially the finale. The protagonist of the finale should be Superman. The readers' expectations for the protagonist at the end are invincible and have been accumulated for the entire book. Even if he sacrifices himself, the author should not choose one side to be the bad guy (especially since your book is mainly about family fun), which will put psychological pressure on the readers. The nature is good, the malice is infected, and then one party sacrifices himself to end the moral deadlock imposed on the reader. You have used this routine too much. You have used it at least four times in different sections starting from the disaster. In short, it is obvious that the author is unable to handle such a complex and numerous setting and reversal structure on a macro scale, and is more suitable for a short copy. I hope that the author can try to simplify the complexity in the next book, and clearly explain one or two key settings around the character's growth, and pave the way to enough exciting points. There is no need to constantly push the rhythm of the plot.