My Folklore Game Console

I feel that the more I write this book, the better it gets. The writing style of the first book seems to be very immature, especially the early copies. I was inspired to write about gastric juice in the future. I wrote about customs from all over the world, especially Nanyang Shengxie. The following words are too stream-of-consciousness, and it feels like a stone hitting your head. It is so uncomfortable to read. The second book Yongzhen. I have to say that it really captures the true meaning of local characteristics, especially Yongzhen's words, "As long as I live, I am compassionate." The plot along the way is like a real Bodhisattva. I feel that the three books currently written are the best. To be honest, from the beginning of the third book, I can tell that it is not based on the previous book, and it still has that flavor. Then the strength has taken a big step forward. This is the fastest improvement among the three recent books. It did collapse later, which I have to say is a bit of a pity. This is the fourth book of . It can be seen that the author's writing style has been integrated and it will not be as uncomfortable to read as the previous books. It is also the only one that I can read in one sitting, and the plot is just right. It makes me want to stop reading, and I wait for updates every day. In particular, the protagonist's abilities are directly reflected, unlike the previous ones which were basically a bit too mysterious, resulting in the feeling of being both strong and weak. There is no specific division. Generally speaking, this book is full of creativity and charm based on the experience of the previous three books. The only pity is that it's not very popular. You can tell that the author is really serious about writing a book. After all, no one would write such a stream of consciousness. Each edition is full of creativity, and the author's improvements can also be seen.

The plot so far is very good, it feels similar to My Weird Life, but the writing is a bit problematic, which is a pity, if the writing was better it would be Ambrosia. Another point is that I don't know if the author did it for the sake of word count. There are a lot of words that affect the perception.

Just like the title, the author should go and learn it when he has time. If it doesn't work, ask a Chinese teacher for advice. You didn't write the flashback like this. The climax is not expressed, and then you narrate it through memories and flashbacks. Who taught you? You are writing an online novel. You want to make money, you have to rely on readers to reward you for reading, and you have to vote for results. Good guy, this is the first time I have seen this kind of writing that cuts off at the climax, and then uses two chapters to intersperse memories for flashbacks. And the semi-white spoken language is also suffocating. No wonder you have to use festival activities to promote the book. You can't do it on weekdays, and you don't think about how to make progress?

It's been a long time since I've seen such a well-written method of adding a weird and infinite flow to the real-world main line. There are very few that write interesting occupations and have a sense of design about folklore. Many times I don't know where you learned those unorthodox things. It's well written, but I have a few comments: The first copy of Chapter 1 or 200 is not even finished. Is there only one cartridge in the game console? This is because the explorable content is rated as small and the cassette is so long. Wouldn't your next copy be a copy and a book? The core point of Infinite Streaming is that every time the protagonist enters the instance at the climax of the event, many boring parts are skipped. But to be honest, your writing is a bit overwhelming. 2. I skipped it for no apparent reason when I reached the climax, and then turned it over in the following paragraphs to explain what I experienced during the climax. I actually don't quite understand this way of writing. The climax of the plot is obviously the most interesting part, so what does it mean that you insist on skipping it? Everyone can actually infer what happened in the climax plot from the context, but knowing it does not mean feeling it. The most important thing in a novel is experience, and the climax plot should be well written. 3. Writing style, we are not here to do reading comprehension, but to be honest, it does affect reading. But you are an old author, and your sense of language is probably the same. If you can improve this, it will be very popular 4. Compared with the design of the copy, the sense of reality is really thin. The act of writing a copy can indirectly affect the actual design or what inheritance can be brought out from the copy. It would be better to have a little connection with real people and hang on to the thread

I've finished reading the first game, and I've only read a few chapters of the second game, and I feel a sigh of relief. It's not because it's poorly written—on the contrary, it's well-written enough for me to willingly turn the first page and even finish reading the story, which is more than two hundred chapters long. But when you come to the end of this story and expect a larger world to unfold before your eyes, what comes to you is a "system reset" that catches people off guard. Let's talk about the advantages first: the skin of folk customs is indeed exquisite What attracts me most about this book, and its only irreplaceable feature, is the folk custom setting. The protagonist gets a game console, and all the occupations in it are related to folk customs-sewing corpses, digging graves, visiting graves, burning bones, saving the dead, and removing suffering. The author weaves these unpopular folk occupations into the game mechanics. The details of the rituals of sewing evil, the entries of amulets, and the favorability system of gods all have a heavy texture. A brother commented that the author's "writing style is poor, but the folklore setting is really good." This evaluation is not an exaggeration. The setting of "Sewing Evil" in the first game, from tools to formulas to taboos, is written in a clear and logical way, and you can feel that the author really spent time researching and thinking about it. Another advantage that is easily overlooked is the integration between the game panel and the narrative. Favorability panels, skill proficiency, dynamic changes in master expectations—these mechanics are not cosmetic. Xu Feng saw that Master Zhao Er's favorability level was "already extremely high", while the God of Earth had only one heart, and the God of Day and Night could not even get a heart at five points each. This comparison is both humorous and accurately tells you where the protagonist is in the relationship network. What's even better is that the master's expectations are dynamic - the better you do, the higher the expectations and the smaller the room for stealing. This is more delicate than most "game alien world" novels. The first fatal flaw: there is a beginning but no end, the climax is always in the "next chapter" If you have a feeling of "am I reading the outline" when reading this book, it is not your illusion. There is an evaluation in the Qidian ranking post that is particularly accurate: "After it was released, the climax of the plot was still omitted, part of the plot was still omitted, the typos and sentence phrasing were still not human-made, and the story was still messy. But I can still watch it, which is a miracle." This comes from a reader who can still read it. In other words, even people who like this book cannot deny that its narrative is messy. This kind of "start without tail" is not accidental, but systematic. The author is good at laying out suspense - the details of folk rituals, the atmosphere of strange events, and the tension between master and disciple. These "starting" and "inheriting" are written in a stylish way. But when the real conflict broke out and the problem was solved, he seemed to suddenly lose his patience and just brush it off with a few strokes? This is not "blank space", this is narrative escape. The readers have followed the protagonist through so much, and in the end they can't even find a decent point of emotional release. The second fatal injury: the units are separated, and the previous reading becomes a "sunk cost" If "having a beginning but no tail" is just a pity, then the complete separation between units is the reason why I gave up the book. At the end of the first story, the protagonist is already a master of sewing, known as the old god. This means that he has not only mastered the core skills of sewing, but also accumulated decades of experience, personal connections and industry knowledge. These things will not disappear after entering the second game, because the protagonist's soul is the same, the memory is continuous, and the experience is accumulated. But the protagonist in the second story, even if he changes his profession, he should at least have a basic cognitive framework of the folk world - he knows what "ominous" things are, knows that there is a network of relationships between the three religions and nine streams, and knows how to sew evil into good fortune, even if he does not have the corresponding skills. These cognitions were established by him personally in the first story, and they will not be reset just because he changed his game profession. Moreover, over the course of decades in the previous story, the protagonist will inevitably come into contact with various people of various religions and will certainly have a basic understanding of other professions. However, the protagonist seems to be completely unfamiliar with other professions, which is actually very unreasonable. The author's choice is to "format" the protagonist. Memory is retained, but experience is stripped away; panel data is retained, but cognitive accumulation is emptied. You follow the protagonist and work hard to "level up" in the first story. As a result, at the beginning of the second story, the protagonist's cognitive level is reset, leaving only an empty level (it is easier to gain favorability from the gods). When the growth of the previous story basically does not produce any transfer effect in the follow-up, the reading value of the previous story is actively denied by the author. The time, emotion, and attention you invest all become sunk costs. It's a terrible feeling—you're not abandoning the book, you're cutting your losses. Looking at the root cause, the author is more like using the shell of a "unit drama" to evade the responsibility of a "novel". These two questions point to the same judgment: what the author writes is more like a "unit drama", but what readers expect is a "long novel." The logic of unit drama is that each unit is relatively independent, the protagonist faces new challenges, and the units share a world view but not a growth arc. This is no problem in itself. Many classic works are unit dramas. But the problem is that the protagonists of unit dramas are usually not "growing" characters. From the first case to the last case, Holmes's core abilities are stable, and his charm lies in solving problems. The protagonist of "My Folklore Game Console" is exactly a growth-oriented character - he step by step from an ordinary person to a "master of murderous sewing", this process itself is the core driving force of the story. When you use a growth-oriented protagonist to act in a unit drama, you face a fundamental contradiction: growth is irreversible, but unit drama requires each unit to start from scratch. The author's choice is to sacrifice the continuity of growth and preserve the independence of the unit. The result is: the readers grow up with the protagonist, only to find that the protagonist is "returned to his original shape" in the next unit. This is like watching a movie. The protagonist changes from a rookie to a master in the first act, and then in the second act, he is still the same rookie - just changing a rookie profession. This is not structural innovation, but structural incompetence. If you haven't read it yet, my suggestion If you are a folkloric theme lover, interested in unpopular professions such as sewing corpses, digging graves, and looking at graves, or you like the writing method of integrating game panels and narrative, then the first game of this book is worth reading. Its folk details and atmosphere creation are among the best among online novels, and the reading experience of the previous chapters is solid. But if you are looking forward to a complete novel, where the growth of the protagonist can be accumulated, organic connections can be formed between units, and there can be a real climax and conclusion - then you will probably choose to leave after the end of the first story like me. The relationship between the "advantages" and "disadvantages" of this book is that the latter engulfs the former. The skin of the folk custom is delicate enough, but the skeleton is loose. When a story cannot support a complete body, I can only choose to abandon the book with great pity.

If a huge crisis such as the Yellow River Monster can only be solved by the corpse stitcher in the end, and if the solution is not solved, life will be ruined, then the corpse stitcher should not be able to barely make ends meet. The protagonist's master gives his own food to his apprentice, and only eats a little when he goes to the restaurant. There is a deep relationship between master and apprentice, but I always feel disconnected.

To put it bluntly, the thunder is loud and the rain is small. The leader of the evil cult in the Ancient Tomb of Gods and the Dragon Corpse Reveals Immortals in the Yellow River is so awesome that it actually doesn't cause any trouble at all, and it's not harmful to a small county town. Not to mention the county magistrate, the petty officials can solve the problem without even having to step forward. Learning magic and magical powers is worse than taking the public exam.

This guy has so many books, but he's still talking about the same stream of consciousness, skipping lines at every turn.

This was compiled a few years ago for reference. If you want to write about internal revision in the future, you can refer to this But I didn't fill in the details because it was too troublesome. I will add it later if there is anything you need to know. I don't know if I will write about heaven and hell later, so I will post it here just to supplement everyone's knowledge Finally, there are the levels of Taoist gods This is compiled by me, not generally accepted. After reading this, you can say that you have an understanding of the Taoist world of gods and immortals.

I don't know what's wrong with the author. He skips all the big scenes or climaxes, and just takes this plot out of thin air. I will briefly and quickly say it again later. What kind of weird writing technique is this? I can't stand it. The plot is indeed okay, but I can't stand this kind of writing. It's too uncomfortable, just like Cun Zhi.