Once Upon a Time, There Was a Gluttonous Snake

Have you ever been a snake? Some things are scribbled and taken for granted.

Don't be fooled by the title of the book. This book is not mainly about the protagonist. There are a lot of primitive plots, and the latter may also be about the development of civilization. I don't know what it has to do with the title. The protagonist is just a snake, but the protagonist has very few scenes.

Have you ever been a big snake? Just write it randomly. It's all taken for granted.

I feel that Laodu's strengths are his ability to think of stories and his breadth of ideas, but his writing skills and ability to write novels are his weaknesses. This makes Laodu really good at telling stories, especially short and medium stories. He has an interesting setting at the beginning, the stories in the middle are interlocking, and the ending is unexpected and reasonable. The narrative is straightforward, the pace is fast, and he relies on novel settings and perspectives to win. For example, the full text of Pipi Xia and the early and middle stages of Panda and Tuoshen Blade are like this. They are unit dramas composed of many short and medium-sized stories connected in series. Including this one, it seems to be the case now. (At least the part that has been updated so far. If you like this kind of novel with a unique perspective, I highly recommend it) But once Laodu is dragged to a general starting point to upgrade and fight monsters, or the long-form rhythm, it will wilt, just like the previous book. It seems that Laodu's writing power is only average among authors, so once the pace slows down and delicate descriptions are needed, and when digging holes and burying suspense to support the skeleton of the story, the effect will not be as good. It can't be said to be bad, but it can't compare to the effect of writing a mid-range unit drama. I think the first thing Laodu should pay attention to is multiple perspectives: it can be multiple protagonists, but it can also be to add some interesting supporting characters to each unit and then use the supporting characters' perspectives to fill the vacancies in the main line. In fact, many of Laodu's more popular works do this subconsciously. But the last one felt like it lacked interesting supporting characters, and as a result, it didn't feel as effective. To be honest, most of the more successful literary works basically have multiple perspectives. For example, Tang Monk was studying for Buddhist scriptures and the four masters and disciples had to switch to the perspective of monsters every time, let alone the Three Kingdoms Water Margin and the Red Mansion. Taking a closer look, apart from Zheng Zha, there is also Chu Xuan in the infinite terror. Every dungeon of Thriller Paradise has to create a few cross-talkers with Feng Bujue and Sword of the Dawn, the Greedy Octopus Cat, which one is not the protagonist, and the number of people in the group is increasing. There are some things about Lao Du that make the protagonist feel more lonely as the writing goes on. Pippi shrimps are okay, they are all seafood anyway, there is no concept of upgrading. You are like a panda. In the final analysis, it is written so that no one can follow the protagonist. The protagonist in the space chapter has no supporting characters to interact with, and the villains are all bugs who cannot be named. After a hundred thousand cyclone golden elixirs were absorbed and the insects were wiped out, all teammates were left behind, all enemies were defeated, and there was nothing left to write about. It's actually similar in the edge. I found that another problem with Lao Du's novels is that there are generally very few introductions to the main plot. Without long-term goals, there would be no long-term plot, or it would be difficult to reasonably introduce plot points, create new conflicts for the protagonist, and allow the protagonist to collide with more characters. This problem is not a big problem in this book and Pipi Shrimp: when the protagonist is set as an immortal species similar to the old days, he can basically change the map without restrictions and create new story introductions at will. After all, if you live for a long time, with a span of thousands of years and the entire world as the shooting range, then any development is reasonable. Things like dragging the body and pandas are not completely feasible, but at least they still rely on "the world is crazy enough", various god expansions, "sleeping for thousands of years" and "parallel world" to force the opening of new maps. In the previous book, when I followed the starting point to upgrade and fight monsters, I couldn't play it anymore. This may be one of the reasons why Laodu is so good at writing unit dramas, but easily gets tired of writing royal novels. You may look like Brother Huozi, but in fact the goal is to solve the problem of mental factors. If the knife is hanging above your head, you have to fight for your life with all your strength. For example, in Sword of the Dawn, the setting of Demon Tide exploded before the first crisis was resolved, a mysterious disaster that destroyed the ancient empire. When you talk about the Three-Body Problem, you actually use the setting of Tomoko as the main plot. Journey to the West is about learning from the scriptures, The Lord of the Rings is about The Lord of the Rings, and Harry Potter is about Voldemort. The protagonist of Laodu has a low desire. He is basically a young Buddhist and has no long-term survival pressure. I couldn't stand the main character in the previous book after I saw him enter the door. Why? Because according to Laodu's setting, theoretically once the protagonist can increase his lifespan through practice, he should stay in seclusion until he ascends or dies. There is nothing he wants, there are no mysteries waiting for him to discover, and there is nothing he wants to achieve, so according to the plot, nothing should happen. Those conflicts feel very deliberate, because they are not what the protagonist would do at all. Panda and Blade are similar. There are various crises pushing the protagonist forward. After provoking one enemy and defeating it, he will immediately move on to the next one. But when I couldn't connect to it later, I felt confused. You don't necessarily have to set a goal from the beginning to the end, but you have to have a mid- to long-term goal at least. Otherwise, the plot will not be able to advance if you don't write a long story. It doesn't matter if you are a unit drama like this now, but there are several specific feelings like the previous one. Either there is something that must be achieved, or there is a long-term crisis that requires efforts to prevent, or there is some kind of huge suspense and mystery to be solved. If it wasn't there, the plot wouldn't be possible at all. And this actually helps the ending, and writing the ending is also a painstaking job. If you have such an ultimate goal, it will be a perfect ending once you achieve it. I just think about it and write about it, but it may not be right. I'm not in this business. Laodu is still a very capable and thoughtful author. Just listen to my suggestions. I hope it will be helpful.

If you are big, go to the sea. 🤔️The sea is rich in resources and there was no shortage of huge cetaceans before modern development.

Very good, just keep it like this My simple hope is that there will be no old tricks like transforming into dragons in the future. In my opinion, snakes are also a great cultural symbol all over the world. . .

Brother Du Kang, please give me some advice. The rhythm of this big stomach bag is a bit long. In my opinion, it's either a death at the beginning or a quick death. Now this kind of running away from the protagonist is not a good choice, because this person has no charm in writing, and now the writing is focused on him, which makes people feel more disgusting.

It's a bit uncomfortable to watch. The protagonist keeps being backstabbed by his followers. Either he wants to kill the protagonist when he has the strength, and then the protagonist accidentally kills him, or wants to kill the protagonist, but the protagonist is still friendly with him, and ends up accidentally dying somewhere. In short, it is all kinds of 25-year-olds and greedy believers who want to kill the protagonist, but because the protagonist's aura is too strong, they have never hurt him, so it is not suitable for the protagonist to control.

Those who have never eaten Shi can watch it👍👍👍👍

I want to watch the infinite adventure of the foul-mouthed dragon. The chaotic whimsy and the introduction of game equipment are really cool. The quality of the Dragon Slaying Blade is actually rubbish. The dragon turned into by the ultimate move of idealism cannot fly. Xinxiang Taotie swallowed it all from the front and ended up with a belly full of dirt. There are also classic blacksmith Kobe Bryant's single belt, and Shark O'Neal played with the Spartans to develop a team battle buff, but the protagonist cannot eat the buff given by his friends. And what the hell props were found in the 5 boxes given to Ziyue Laodeng who was forced to join the senior music troupe to perform his talent. Finally, I wish the author better and better as he writes more.