Rejecting Victory Theory, Starting in the Northern Song

Taking "The Years of Peace" as an example, the opening lines of Feng Dao and Sang Weihan were very impactful, earning high praise from the audience. However, towards the end, the screenwriter created a character named Sima Fu. While his lines initially sounded good, his scene where he pleads for Wang Quanbin to the death was a complete failure, veerging entirely into didacticism.

Before the Ming Dynasty, the emperor was not addressed as "Huangshang" (). During the Song Dynasty, he was often called "Guanjia" (), and in other dynasties, he was usually addressed as "Bixia" (). Starting in the Ming Dynasty, the emperor was occasionally addressed as "Huangshang," but most of the time he was addressed as "Bixia."

In the peaceful years, Feng Dao stood atop the palace gate, righteously stopping the Khitan soldiers who attempted to plunder the palace—a truly heroic scene. This time, the protagonist is a military general. Have you considered designing a similar scene, such as when Emperor Zhenzong of Song received some superstitious object like a celestial book, with the protagonist standing on a city gate or…

What utter nonsense! The first issue of the magazine sold out 230,000 copies, and then orders increased by one million copies. Now they want to print two million copies for the second issue?! At its peak, Jump Weekly printed 6 million copies, thanks to modern technology, logistics, and distribution across multiple locations. A Northern Song Dynasty seal engraving magazine, with two million copies sold for only 10 coins per issue?! Are you kidding me?! 😡

To get people to follow you, you have to let them win something, to get some benefits. If they follow you and lose every day, nobody's a masochist, so why would they follow you? Besides, it's exhausting to read. Is the author writing a novel to tell a story, or is this just for publicity?

I was recently watching Guo Wei's commentary videos, and a blogger called him "Master Guo," which suddenly sparked an idea. Since ancient times, armies have always valued brotherhood, and chivalrous heroes are known for their strong sense of loyalty. Emperors who rose from the ranks of chivalrous heroes include Liu Bang, Guo Wei, and Liu Bei.

When Shi Chonggui surrendered to the Liao Dynasty, he handed over his Imperial Seal of the State. During the mid-Song-Liao period, a debate arose regarding who possessed the Imperial Seal of the State was the legitimate ruler. Later, Emperor Zhezong of Song found an Imperial Seal of the State among the common people to wage a propaganda war against the Liao Dynasty. You can discuss this matter in detail.

Historical knowledge and the author's perspective can only serve as background, not the main course. Only the struggles of individuals (between self and others, between individuals and groups, between individuals and their era, and between groups) that reveal dramatic and emotional value will attract viewers.

Since the "golden finger" (a cheat ability) is seeking death, why is it that most of the main story revolves around the protagonist getting caught up in political struggles and unable to accomplish anything? The "seeking death" genre is all about the protagonist's fearlessness in the face of death, and although they don't actually die, good things keep happening to them.

Emperor Zhenzong risked his life to emulate Qin Shi Huang's Fengshan ceremony at Mount Tai, which shows that Qin Shi Huang had a good reputation in the Song Dynasty, but it also shows that he felt humiliated and therefore tried to whitewash his past.