Once Upon a Time There Was a Greedy Snake

Maybe it's for personal reasons. I have always liked Brother Du's books. The narrative style, the grammatical elements in it, and the storyline that connects myths together have always fascinated me

Starting from Pipixia, my brother is actually not good at describing big scenes where multiple forces coexist. Instead, he is better at describing an [invincible] protagonist who rushes into a [city-state] or a small place in an [era]. The first book uses the space travel provided by Naija and the time travel brought by natural sleep to observe and participate in the lives of other people from the perspective of the protagonist. The process is happy and painful, and the results are beautiful and sad. And that kind of writing is most suitable for the inspiration of my brother's ideas. The description of [power] cannot be so familiar. In Pipi Shrimp, we only need to know that Fatty is a friend, Naiya is a bad friend, Paopao is a swinging acquaintance with his own ideas, Yuri is a young boy, and Johnson is a [mortal] who breaks through all obstacles and enters the killing spiral (乐). They guide in various eras and participate in the paradoxical development of history. That is to say, for the small stories in each unit, the [protagonist] is the one who comes (it feels like letting the bullets fly) And in this book and the previous one, the emergence of [external forces] obviously lacks foreshadowing and description, and the protagonist himself is too [stable]. Taking this book as an example, even if you enter In the Interstellar Age, the scope of description seems to be that of a city. The "Egyptian Civilization" seems to represent all the civilizations of this [Planet] and has lost the characteristic of thriving in time and space. There are too many characters in [The Age of Immortals]. It is difficult for Snake to maintain interaction or relationship with other characters. Only using time as a separation of unit dramas is too thin. The expansion of the worldview did not play its due role, but instead diluted the characteristics of the protagonist himself and the surrounding groups. To be honest, I'd better look for the touch of a unit drama, and let readers use the perspective of the protagonist to stir up the [development trend] of the story in our thinking inertia. 🙏 It would be great if the simple thinking on high-speed rail can work.

，， If you want to see the protagonist transform into a strange beast and constantly upgrade to kill all enemies in the world, maybe this book is not the right choice for you. Because although the protagonist of this book is also upgrading, and although he is killing powerful enemies and devouring enemies, he is essentially choosing to fight for a better life. The highlight of this book is also the impact that the protagonist has on the world, and the stage drama that all living beings stage due to this impact. If you are interested in mythology or heroes, I highly recommend this book. Of course, the group portrait in this book is not the kind where a protagonist is designed to be a tool, and all the benefits are given to the supporting characters. The protagonist is closer to the source of all stories. The epic begins and ends with the protagonist. When you feel that the protagonist is offline, in fact, every corner of the story is the shadow of the protagonist. In short, I highly recommend this book. Don't be dissuaded from reading it just because of someone else's comments. You can read the free chapters first. It's free anyway.

I ended it without any moves, it was so sloppy😫, I still haven't seen the mammoth eating in the starry sky.

I have to say that the journey of the protagonist eating mammoths is really very difficult. Since the servant at home ran away, the snake god has experienced a battle between believers, one snake fighting three gods, fighting the descendants of new believers, and now fighting elves 😭😭😭 When can I eat mammoths?

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.

The novel is not nonsense. You have to apologize to the readers for doing this. Tell me how LaTiao eviscerates food?

Brother Du Kang must have been inspired by the popular book Pipi Shrimp. Let me give you a sneaky suggestion. Try opening an insignificant account and try out new themes. Of course, don't scold me.

I feel like this is a wonderful book, with a refreshing and unconventional story 🙂

"Where the Mammoths Went" and "Oh! The mammoth I miss deeply"

Good guy, Big Stomach was run over by the protagonist for the first time. When he returned home, he realized that his strength had increased dozens of times. The second time he was run over by the protagonist, and he even escaped death again... Let's sit at the same table with the hungry wolf. The protagonist in the early stage has no characteristics at all. Snakes, huge, eating, modern people's pretentiousness, no personality charm at all. As a result, I started writing group portraits without the main character standing up. Before I even took it in, I was pulled out. It's hard to say.

Other similar protagonists in Shenmingwen at least have a clear goal and absolute control. This book is too abstract and the protagonist has no interaction with NPCs. It is not fun for you to calculate yours and I will eat mine, and there will be no fun in the future. Shenmingwen does not engage in farming and development, but a war between humans and gods. The problem is The gap in strength is still so big, just like an ant scheming against an elephant. Even if the ant is crushed to death later, it will not be any better. This kind of god's article does not write about civilization, and if it does not write about the group portraits in civilization, what's the point? Not to mention that it sleeps for hundreds of years. Even if you want to write about showmanship and slap in the face, how stupid is it to write about NPC? At least it's a threat. Isn't there a giant god next to him? Letting him take the initiative to attack is more likely than letting a group of ants provoke a fight between two elephants, right?

Lao Du's protagonist never needs to be upgraded, or even needs to dominate the story. This time, Snake is the same as Pipi Shrimp. The protagonist represents the upper limit of the entire book and is used to tell the characters in the book that the mountain is there! Go climb, go cross! What we see is never the protagonist killing everyone by himself, but the story where the protagonist stands and people see the protagonist, and achieves the goal in his heart.

The water is relatively low-grade, so you don't even have to think about it, and Che Lulu talks about it over and over again.

I started chasing Du Kang's books from Pipi Xia, and I felt more and more constrained as I wrote them. At first I thought I had regained my rhythm in this book, but it turned out to be more and more chaotic. My favorite books are Pipi Xia and Chu Daonan. The style is free and easy, and the small plots can fly out and be taken back (especially the Wu Chengen part). I still hope that I will recover from my illness soon. Your health is your capital.

Lao Chu, I miss you (I heard from my brother that he seemed to be unable to write the infinite flow script, so he didn't write it)

When I first started watching: The Little Master Ending: Eat the eggs you pulled out again

See you next one. In fact, I can already feel progress in this one, but it's a pity.

It's finally over, let's start chewing! Praise brother Du Kang!

I've finished watching it, I've basically finished watching it, and I've seen more than 420 shots of the ending that jump straight to the end. When I saw that Ubo had not been solved for a long time, I knew that my combat power was suddenly too high and I couldn't write anymore. Personally, I think it's enough to watch a little bit after Seed of Life becomes the Pope, and then watch the ending or two. In fact, if there is no such character as Ubo, it would be very interesting to continue writing about the development of civilization, the collision and exchanges with other civilizations outside the world, and then flying into the universe, or even making friends at the same level like the Pippi Shrimp book, without following the writing method of the Dark Forest. Of course, don't listen to what the family says. I still hope the author can get better and better.

In fact, Du Kang, brother, you are quite suitable for writing martial arts novels, or martial arts novels. As long as you don't write about crazy people, and you don't write about things that are mysterious and mysterious, there is no problem at all.