The God of Drama!

Dugu Huan's new work. Still following the folk custom direction. I think the entry point and setting this time are wonderful. We have started the custom of inviting gods since the original Nuo opera. The important thing in Nuo opera is to wear masks of gods and imitate the dances of gods to achieve the purpose of inviting gods. Chinese drama itself also evolved from sacrificial rituals. When I saw the first draft, I felt like my blood had been activated. The male protagonist put on facial makeup and went on stage, killing all kinds of monsters and ghosts, which is very consistent with our cognition and customs. Readers who like folklore textual research should not miss it.

First, there is an ancestor, but there is no parent. As the founder, Emperor Huaguang is quite interesting - Before Dijue Tiantong, it was indeed a hard backstage, with ancestral statues and god-given golden spears able to support the show. However, the status of the Yin Opera Master in the world of Yin and Yang during this period is similar to that of Zhenjun Erlang's Grass-Headed God - the majesty is indeed majestic, but the honor and disgrace are tied to the great god behind him. The Yin Opera lineage has not built a system conducive to inheritance, so after Jedi Tiantong, without the protection of Emperor Huaguang, he was immediately regarded as a hunting target by the underworld. "You can't live to be 30 if you sing Yin opera, Master Jade is an exception." How tragic. Two, those who pretend to be gods are corpses, and those who channel gods are witches. When master and disciple discuss playing god, the biggest weakness of Yinju magic lineage is here. You can get closer to God by playing God, but when you get close to the origin of God, you will be backlashed by God. This leads to the fact that the fundamental method of Yin Opera can only take advantage of the situation and cannot be restrained, which leads to high risks in practice. Essentially, they are imitating, praying, and acting as a being higher than themselves. This relationship is one of looking up and passive from the very beginning. Once the fake act is done for real and the actor is fully involved, the self of the actor will be swallowed up by the power of the gods, and he will never recover. Singing Yin opera is essentially the corpse blessing in ancient witchcraft, pretending to be a god rather than a god, and is inferior to witches. If this problem is not solved, this lineage will never have a way out. Third, the strongest person in the opera business is an actor. In Zhongyuan, the ghosts and gods are making things difficult for them. The Yin opera master must sing in front of the ghosts and gods to gain recognition. And we know how hostile the current underworld is to the Yinxi family. And the Yin Opera Master also wants to entertain the gods in this kind of hostility. This is like having to sing to the powerful who bully you in order to gain protection. The sense of humiliation and power imbalance are unforgettable. This reminds me of the past when celebrities were humiliated by high-ranking officials and warlords and had to go to singing halls. The initiation ceremony of the Yinxi lineage is like a kind of self-sacrifice. Four, some plot development ideas. The conflict in the whole story lies here - the problem the actor faces in the world of the world is his status, and the problem he faces in the underworld is his status. Both the dog officials in the human world and the ghost officials in the underworld can suppress the protagonist with the help of their respective systems. Looking again at the fact that Emperor Huaguang gave the gun but not the staff, it can be said that the protagonist has little hope in taking the path of system promotion. After all, his roots are as an actor, not a Taoist priest, and he naturally lacks official spirit. Proving the Tao with force seems to be the only path the protagonist can take.

The name does not match the reality, but the reality is greater than the name. Color

Before killing General Tiger, there was fairy grass, and after killing it, it was dry grass. As soon as Xuan Qiongsi came out, he began to forcibly reduce his intelligence and turn it into poisonous grass. The level of kung fu in Chapter 20 drops off a cliff, which directly kills all interest in reading.

Because the origin and development of "opera facial makeup" originally originated from the inheritance of the Chinese-Han national community's "Witch Dance" in the ancient period and the "Nuo Dance" in the classical period. From the pre-Qin and Han Dynasties to the Wei, Jin, and the north and south, Nuo noodles not only appeared on the battlefield as one of the accessories of military commanders, but also as one of the official sacrificial dances and further developed into the "big noodles" and "daimian" song and dance dramas of the Sui and Tang Dynasties. The "painted noodles" form also appeared, and was later spread to the people; in the Song Dynasty, it was Jing culture flourished on a large scale, and "face painting" evolved into two categories: "cleansing" and "surface". The black and white facial makeup form of "face cleaning" appeared in the operas of the Song and Jin Dynasties; after the rise of Yuan opera, the color facial makeup form of "whole face" appeared; in the Ming and Qing Dynasties, the facial makeup form continued to develop and enriched, and expanded to the entire face in the Qing Dynasty, and was completely mature and finalized. About the opera form of "asking the gods to get on the body", in It is reflected in the classic Hong Kong movie "Zombie Doctor": a vampire from the West offended the statue of King Huaguang, and the statue appeared and summoned the three heroic spirits of Liu, Guan, and Zhang to possess three men. They transformed themselves into military generals and fought vampires with the image of Liu, Guan, and Zhang in the opera. After a hard battle, they finally defeated the vampire. This is just a form of "inviting gods to take over". What kind of magical power it belongs to has not yet been determined, because it is not clear in Taoism. "The righteous gods do not possess the body, and the possessed gods do not possess the righteous gods." In addition to Liu Bei, Emperor Zhaolie of the Han Dynasty, Guan Yu and Zhang Fei are both righteous gods who have been conferred as gods by Taoism and included in the lineage of immortals. Guan Yu has the top divine position of the nine-day demon-suppressing emperor of the Three Realms and his He has a slightly lower deity title in the past dynasties. In addition, Confucianism also has the title of Emperor Wenheng, Buddhism also has the title of Protector Dharma Jialan Bodhisattva and Gaitian Ancient Buddha; Zhang Fei is the City God of Langzhong City (County) in Sichuan Province and the Grand Patrol Envoy of Yin and Yang (conferred by the Qing Dynasty)

The author came up with this name thoughtfully. I pushed it so early. Qidian probably wants to compete with this book and that one.

I saw a similar one next door last time. It started with the protagonists Goldfinger playing Zhong Kui and Guan Yu. The first twenty chapters were interesting, but then the protagonist was discovered by the relevant departments. The script for the protagonist to join the department was stagnant, and he no longer acted in a troupe.

It's a pity that the book is well written from the beginning to the middle, but ends in an anticlimax, just like a junior high school student's composition. The first half is full of gorgeous words and fascinating, but the second half starts to stray from the topic, and ends with a very abrupt return to the topic. This is a typical outline that is not well written. Sending Yama into reincarnation and cutting off the Yin Opera Master's thousand-year destiny is a very suitable ending. If the arrangement is reasonable, the end of the entire five or six chapters and the entire two or three extra chapters can be concluded very safely. Unfortunately, his arrangement is unreasonable. There are too many holes dug in the previous story, so it cannot be concluded here. The biggest pitfall is the dragon veins. Except for Yaizi and Chiki at the beginning, the subsequent seven are completely upgrade materials. The abilities are basically never used once. They are just written to fill the pit. The author behind these nine dragon veins is pushed by the story to write down Then there is the upgrade system of "opening the six orifices and overcoming the nine tribulations", which is also It's a big pitfall. It has the same problem as the dragon vein. Because it is bound to the dragon vein, the whole story is about overcoming the tribulation for the sake of overcoming the tribulation. It also has to be written down because there are too many realms. There is no essential difference between the following four tribulations and the nine tribulations. It is just a number But without these two big pitfalls, this novel would not have the same look and feel as it does now. What a pity.

The author's writing style is great, and the descriptions of fighting scenes are also good, but the content is really too monotonous. He keeps describing the same content, and I feel tired after reading more chapters. I hope the author can add some life-style dramas and group portrait content to moderate it. For example, due to the existence of the protagonist, a certain person, family, or place has been changed. These can be described from the perspective of a passerby, which can not only enrich the novel's sense of depth but also optimize the reader's reading experience.

After taking an elixir, after decades of skill, only one ear orifice can be opened, and the eye orifice itself can be opened. With your practice, how can you open the other orifices? You can't open all the other orifices by practicing step by step. Unless you keep taking medicine, it will take a hundred years of skill to open all the remaining orifices.