Zhuri: Asking the Sky

Analysis of the overall text structure and narrative core The prologue of this book jumps out of the opening paradigm of traditional online novels, abandons popular writing routines such as counterattacks, adventure treasure hunts, and opening conflicts, and adopts a two-line parallel narrative structure: Mortal Creator Wang Li The real dilemma line, and the civilizational overlooking line of the high-dimensional existence "Supreme", the two clues reflect each other, completing the three things of establishing the world view, establishing the protagonist's character, and foreshadowing the core setting. The underlying intention of the work is directly placed at the beginning, completing the deconstruction and reshaping of the traditional online novel about cultivating immortals. 1. Narrative rhythm and atmosphere construction The opening chapter uses the ruins scene after the urban catastrophe as the background, and uses the Mid-Autumn Festival and the rebirth of the orphanage to pave the way for the core theme of "destruction and rebirth". The disaster is not just a prelude to fighting monsters, it leaves a psychological imprint on all the characters: Xia Jin experienced two spiritual deaths, Wang Li was trapped in the prison of literary creation, and Your Majesty is a transcendent individual who came after the catastrophe. The urban reality in the previous article is very strong, with a balance between fireworks and depression. The warmth of the reconstruction of the orphanage and the gathering of old friends contrasts with the frustration of Wang Li's writing. When the Lord appears, the writing style instantly changes from realism to surrealism. There are no abrupt fights, and it relies on changes in the environment, distortion of space rules, and changes in light and shadow to heighten the sense of oppression of the superior. The entire process does not rely on descriptions of force, but only relies on the gap in cognitive dimensions to widen the hierarchical gap between mortals and immortals. The passage in the second half of the article where Wang Li complains about routine online articles is the text's own "meta-narrative". It criticizes the fixed narrative template of immortality articles on the market through the words of the characters. It not only expresses the creator's own expressive demands, but also logically leads to His Majesty's definition of "the essence of immortality", so that the set output will not appear stiff and preachy. 2. The layered sense of character creation • The character Wang Li is not the destined protagonist with his own talents in traditional online novels. He is a frustrated writer who has literary ideals but is trapped by the cliché environment of online writing. He has aesthetic judgment and hates cookie-cutter fast food texts, but his own cognitive boundaries limit him from writing truly transcendent stories. His growth arc does not lie in upgrading his cultivation, but in breaking through cognitive barriers. From imagining immortals with mortal thinking to understanding immortals as higher-level civilized life forms, the transformation of the character is an iteration of the thinking level, rather than physical strengthening. • As a key supporting character on the mortal side, Xia Jin is emotionally restrained and restrained. She experienced the heavy trauma caused by the mutation of her close relatives, but did not collapse, but accumulated a tenacious vitality. She represents a sober and gentle rational person in the mortal world. She is the link between Wang Li and Your Majesty, diluting the cold sense of distance brought by high-dimensional existence. • The creation of Your Majesty completely breaks away from the template of traditional gods: he does not have aloof and violent temper, he is curious about the taste of glutinous rice balls, he can read popular novels, and he can comment on works of human civilization. His power is not reflected in slaying demons, but in his control of rules: digesting the entire library's knowledge in an instant, rewriting the shape of hair, constructing a six-dimensional cosmic chessboard out of thin air, and weaving light into nebula tassels. The essence of his "immortal power" is to crush the civilization level rather than magical powers, completing the demythologizing and reconstruction of "immortal". 3. The logical self-consistency of the world view setting is different from the traditional immortality system Traditional immortality literature is essentially a feudal power struggle in the guise of immortals. Improving the realm is equivalent to competing for resources and competing for force. Immortals are still inseparable from the logic of human desire. The system constructed in this article has been fundamentally rewritten: First, the division of realms is no longer a simple superposition of forces. In the Qi training stage, the power increases exponentially. After the foundation is established, the qualitative change from a biological body to an energy body and a rule aggregate is completed. The realm of immortality is replaced by the civilizational evolution stage of life forms. The cultivation of immortality is bound to the level of civilization. The immortal world is defined as level 3.0. In advanced civilization, humans are only hovering at the threshold of civilization 1.0, And Trisolaran civilization is only between 1.5 And 2.0. The dimensional gap has become an insurmountable barrier. Combat power no longer relies on magic weapons and elixirs, but relies on the control of underlying physical rules. Second, it redefines feathering. After the monk dies, the flesh and blood disintegrates, leaving only the Taoist charm. There are no cliché settings such as reincarnation of bones and rebirth, completely stripping away the physical obsession in traditional immortality. Third, use the six-sided three-dimensional Go "universe" as a concrete metaphor. Human two-dimensional Go is a battle for tribal territory and belongs to the game thinking of mortals; while the game in the fairy world is a parallel operation in a three-dimensional topological space, representing the thinking mode of parallel thinking of high-dimensional life and controlling the order of time and space. The concrete chess game intuitively widens the gap between the thinking levels of mortals and fairy people, and abstract civilizational differences become perceivable to readers. 4. The expressive ambition and depth of the text This prologue is not eager to advance the plot, but first completes a value statement. The author uses the words of his lord to deny the core of millions of works on immortality: those stories are just a pile of desires, a repetition of feudal thinking, and have not really thought about the difference between immortals and humans. 5. The existing advantages of writing details The dialogue design is very restrained, without lengthy verbal chatter. Your Majesty's language is concise and plain, without exaggerated modifiers. The more understated it is, the more it highlights his sense of detachment in overlooking all living beings. The description of the environment takes into account both visual and metaphorical qualities. Light, nebulae, chrysanthemums, and light chessboards are all centered around "rules and energy." There are no messy magic effects in fantasy works. The transition between the two lines is smooth, switching back and forth between urban reality and high-dimensional civilization, without the problem of worldview separation. Compared with most of the opening chapters on Immortality on the market, these two chapters gave up the pleasure of reading brought by the immediate conflict, and chose to use two chapters to establish the world view and the purpose of creation, and to consolidate the core concept of "immortality is a higher civilization". The subsequent story unfolded, breaking away from the shackles of all traditional online articles, and possessing its own world view barriers.