Bay Area Season 1

"Bay Area Storm" can be regarded as a high-quality niche masterpiece that combines literary style, solid historical background, and suspense in troubled times. Apart from the common clichés of cool writing on the Internet, this book is very complete overall, with almost no obvious flaws. It's just that the overall tone of the work is grim and gloomy, and the story style is more realistic and thick. At present, the audience is destined to be relatively limited, and it may be difficult to become popular in the traffic market. But it is undeniable that whether it is the writing style, plot arrangement, or historical details, they are all at the upper level of online literature and traditional literature, and are full of quality. Currently updated to chapter seventeen, the story rhythm has been steadily advancing. The plot has now officially advanced to the high-energy main line of infiltrating the British Consulate. The pattern is gradually opening up, and the real forces from all parties have slowly begun to appear... The plot of power disputes and the earthquake is unconventional. I don't know how it will be performed next? I hope it can grow into one of the best benchmark works in the same genre.

I was reading the novel "Bay Area Storm" and after reading two chapters, one word popped into my mind: "Jack London". Read two more chapters: "Ancient Dragon"? Look again: "Liang Yusheng"? ...... Finish reading the current serial. As a veteran bookworm, I would like to make the following comments. If there is any inappropriateness, please criticize the author and readers: 1. The core of writing style: the fusion and symbiosis of three famous writers "Bay Area Storm" has a clearly traceable and exclusive style fusion: Jack London's survival tough guy core + Gu Long's short sentence narrative style + Liang Yusheng's historical literary style. The author of "Looking Up Three Feet Stream" was most likely deeply influenced by these writers when he was a child and in his youth, and he was a Chinese major. 2. Comparing the styles of famous artists: they have the same origin and symbiosis, each has their own choices (1) Comparing Jack London: 80% of the realistic reality of desperate situations has the same origin, reshaping the Chinese style of survival in troubled times Among all the style traceability, Three Feet Stream is the most consistent with the core of Jack London's creation. The core is "survival in desperate situations", crushing human nature with cruel reality, not beautifying suffering, and not deliberately sensationalizing. The writing styles of the two are highly consistent. Both focus on the narrative logic that environmental oppression is greater than man-made struggle. The writing is cold and restrained, abandoning unnecessary lyrical embellishments, and only directly writes about body sensations, pain, chills and subtle perceptions in desperate situations. The creative perspective always focuses on the little people at the bottom, wandering strangers, and those on the margins of the times, and strives to depict the struggle of individuals in desperate situations, the loneliness in the bones, and the perseverance that will never be annihilated. The world he writes about is full of wildness, roughness and cruel reality. He calmly faces the embarrassment and difficulty of survival, showing the truest background of life. Jack London's desperate situation stems from the primitive wild nature of the wilderness, focusing on the confrontation between man and nature; while the desperate situation in Sanchijian is rooted in the chaotic times of modern overseas cities and the disputes between rivers and lakes. It is a dilemma created by the turbulence of the times and the weirdness of the human heart. Jack London advocated the original will of life and focused on instinctive struggle; Sanchijian is better at depicting the calculations, dormancy and game of human nature in troubled times. The core difference is that Jack London's works have no feelings of family and country and no ties to the homeland, but deep in the words of Litou Sanchijian, there is always the homeland complex and ethnic obsession of the Chinese people that are engraved in the bone marrow. (2) Benchmarking Gu Long: 70% of the sentence pattern and rhythm are homologous, and the sharp white space has more realistic weight The writing rhythm and narrative technique of "Three Feets Away" are highly homologous to Gu Long's writing style, inheriting the most extreme blank space and sharpness of Chinese martial arts. In terms of sentence structure, it follows Gu Long's signature writing method of short sentences, fragmented paragraphs, and single sentences in lines. The writing is clean and sharp, with no redundant details. In terms of narrative, the dialogue is extremely concise and concise, with hidden meanings and hidden meanings in every word. The characters' thoughts are never directly revealed, and a large amount of blank space is left for the readers to understand. The description of the scene focuses on the aura and atmosphere. Fighting, chasing, and confrontation do not rely on the accumulation of complicated moves, but murderous aura, a sense of atmosphere, and the aura of the characters are used to heighten the tension. The character creation is in line with Gulong's characteristics. The characters are mostly taciturn, suspicious, and deep-minded. They are full of temptation, suspicion, alienation and indifference between people, and have a strong sense of indifference to human relationships. But in terms of temperament, the two are distinct. Gu Long's story breaks away from the constraints of reality and focuses on the artistic conception of rivers and lakes; every plot and conflict in "Three Feets Away" is strictly based on the real modern overseas historical background, giving it a full sense of realism. Gu Long prefers the solitary protagonist of the prodigal son, praising the lone brave man in the world; Raising His Head Three Feet Stream is better at writing about the warmth of a group, the balance of power and the symbiosis of ethnic groups in troubled times, and the pattern is more in line with the laws of survival in troubled times. (3) Benchmarking Liang Yusheng: 60% of the historical background comes from the same origin, and the literary and historical style is rooted in reality Liang Yusheng's core advantage lies in his solid literary and historical skills and the grand pattern of his family and country. This is also the most important foundation support for his literary style. The two historical patterns are highly consistent with the literary style. Similar to Liang Yusheng, Zhang Tou San Chi Jian's creations are rigorously researched, consistent with historical facts, strictly follow the social rules, regional customs and historical background of the corresponding era, and avoid arbitrary fabrication. The writing style has its own orthodox and elegant texture, abandoning the vulgar and salivating expressions in online articles. The writing is clean and correct, with a calm charm. The narrative logic is highly unified, and personal grievances and individual destiny are embedded in the changes of the great era. The story has a strong background, and the feelings of family and country and the righteousness of the ethnic group run through it. Compared with Liang Yusheng's orthodox and elegant martial arts style, the narrative of "Three Feets Away" has a more dark and realistic texture. Liang Yusheng's works are orthodox martial arts, focusing on the chivalrous disputes between the court and the rivers and lakes. The writing style is gentle, elegant, and peaceful; while "Three Feets Up" is based on the troubled times of modern times, removing the romantic filter of martial arts, facing the darkness of the times, the suffering of ethnic groups and the cruelty of survival, with sharp and sharp writing that directly touches the heart. Liang Yusheng's layout focuses on the Central Plains court and the traditional Jianghu system, while Three Foot Stream extends his vision to modern overseas countries, delving deeply into the ethnic struggles and survival games of overseas Chinese in troubled times. The layout is broader and the theme is more unique. 3. Uniqueness: the author's exclusive core features Based on the styles of three famous writers, Jutou Sanchijian has precipitated unique and irreplaceable text characteristics, forming its own exclusive recognition. First, the Chinese and Western writing styles are accommodating and adaptable to unique themes. It cleverly combines the freehand brushwork of Chinese-style blank space with the narrative logic of Western realism. It combines hardness and softness, and complements virtuality and reality. It perfectly adapts to the niche themes of the late Qing Dynasty and the early Republic of China and the wandering overseas Chinese. The writing style and subject matter are completely natural, and the compatibility is irreplaceable. Second, the narrative is pre-embedded by fate, and the atmosphere is extremely unique. The creation has a predetermined historical background, relying on the real historical ending to bury the fate of the characters. All the characters are in the current of the times and move forward along the established tragedy of the times. It has a desolate and tragic atmosphere of fate, which is different from conventional cool novels and narrative routines. Third, the text background is cold but not sad. The writing is harsh and cruel, and it dares to cut through the darkness and suffering of troubled times, and never deliberately beautifies life and times. However, there is no complete decadence and despair throughout the story. In the extreme suffering, there is always hidden the survival obsession of the little people, the warmth and perseverance between the ethnic groups. The darkness has warmth, and there is still hope in the cruelty. Fourth, the textual research is integrated into the plot, so it is naturally not stiff. The massive historical research details are not piled up in the form of preaching or narration, but are naturally integrated into character dialogue, scenes, and street fireworks, allowing historical facts to serve the plot and making the story rooted in history, real and profound. 4. Minimalist style conclusion and growth prediction From the perspective of the creative trajectory, at the current beginning of the creation, the sharp rhythm of Gulong's short sentences and the cold and hard writing texture of Jack London's style are the most prominent. The writing style is sharp and the sense of atmosphere is strong, which can quickly bring the atmosphere of troubled times and desperate situations. As the follow-up plot gradually unfolds, the story pattern continues to expand, and Liang Yusheng's literary and historical heritage, family and country structure, and sense of vicissitudes of the times gradually become more prominent. The text moves from the "extremely sharp" gang hall to the "thick and profound" historical curtain. The only worrying thing is: As we all know, this kind of work written with massive research and power consumes a lot of physical energy of the author. How long can it last continuously? Health first!

At a time when homogeneous creations are prevalent in the online literature market, the author has set his sights on "Bay Area Storm" serialized on Qidian Chinese website, breaking away from the shackles of popular online writing. This work is not a conventional online serialized novel, but an in-depth creative practice that combines historical review, stylistic innovation, and aesthetic expression carried out by the author relying on public serialization carriers. The work is supported by multiple deep creative motivations, jumps out of traffic logic, and deeply explores serious historical expression in the popular literature track, opening up a new creative dimension of online literature. The core creative intention of "Bay Area Storm" is to rectify the name of overseas Chinese groups that have been obscured by the dust of history. In popular narratives, overseas Chinese in modern times have always been defined by the flat and tragic labels of "gold rush" and "Chinese railroad workers." The 1906 San Francisco earthquake was defined by Western history books as a miracle of urban rebirth. The cruel history of anti-Chinese forces behind it, which took advantage of the disaster to cleanse Chinatown, has long been ignored by the public. The author uses the key time points before and after the earthquake as narrative incisions, and integrates a large number of real historical data fragments such as the Sixth Guild Hall's account books, overseas Chinese land leases, "China and West Daily" records, Consul General Ouyang Geng's performance records, Pinkerton Office historical facts, etc., To break the stereotyped narrative of Chinese passive suffering. The work restores overseas Chinese to independent action subjects with calculations, disputes, strategies, and understanding of games, and fades away from simple tragic narratives. The author uses the "Chinese Wailing Wall Overseas" to annotate the core of the work, shaping the century-old Chinatown into a historical carrier engraved with blood, tears and survival wisdom. "How to live affectionately in a ruthless world" in the introduction of the work is not a common chicken soup, but the real survival principles for overseas Chinese in troubled times to face desperate situations and bear heavy burdens to survive. In terms of stylistic expression, this work is a pioneering stylistic experiment that resists the clichés of online writing. The author actively abandons the cheating, realm upgrading, harem narrative and other routine settings that are mainstream in online literature, and sticks to the true gravity of history. In terms of narrative techniques, it incorporates the language of montage cutscenes, using retro props such as old clocks, customized wooden boxes, and brass lamp wicks as implicit footnotes to the characters and times. It uses the lens logic similar to high-quality documentary dramas such as "Deadwood" and "The Wire" to completely abandon the outline-style running narrative of online articles. At the same time, the work innovatively combines the semi-literary translation style, Gulong-style short sentence blanks, Jack London-style realistic writing and Liang Yusheng-style literary style, completely diluting the impetuous language of routine Internet writing. The author relies on Qidian's weekly serialization rules to polish the text. The ultimate goal is not to hit the online best-selling list, but to polish a high-quality limited drama IP script that can directly adapt to the styles of HBO and BBC, leaving room for the long-term development of online literature in film and television. Deeply cultivating details and repaying debts with knowledge full of textual research are the creative background throughout the entire text. Different from the superficial background foreshadowing of ordinary historical novels, "Bay Area Storm" has constructed a complete and rigorous era system, ranging from old-fashioned firearms, postal equipment, watermarked paper and other prop chains, to the intertwined power chains of urban politicians, private detective agencies, overseas capital, and transnational estates. The density of research far exceeds the needs of the basic plot. This extreme carving of details comes from the author's long-term accumulation of massive reading reserves. In his early years, he was deeply involved in the knowledge accumulation of Jack London's works, translations of the Republic of China, British and American urban history, and overseas Chinese archives, which led the author to choose novels as a carrier to revitalize the scattered historical material reserves. In the work, the microscopic changes in artifacts echo the macroscopic historical changes. Cold textual research is no longer a tool to show off skills, but a core carrier to restore the truth of the times and heighten the narrative atmosphere. Adhering to the ethical expression of zero-degree narrative is the author's reverse breakthrough of the traffic sensational writing style. In many current eras, online articles rely on pathos and emotionally charged routines to win readers' empathy, but "Bay Area Storm" completely abandons deliberate sensationalism, moral asides and dramatic roars. Whether it is the powerful destroying secret reports, vigilante agents acting casually, or the Chinese trying to survive in cracks, all the characters' actions are straightforward, true and cold. The author always adheres to objective narrative, refuses to consume suffering and sell sympathy, and profoundly explains that the dignity of modern overseas Chinese never comes from the pity of others, but from the never-ending game of survival in desperate situations. His pen name "Three feet up the stream" is the author's creative creed: to respect the axioms of history, adhere to the original intention of creation, restrain the blank brushstrokes, and restore the most authentic appearance of history. In terms of commercial layout, the work completely breaks away from short-term traffic logic and anchors long-term IP value. Since its creation, the 190,000 words of "Bay Area Storm" have not been included in VIP, it has not revised the text to cater to the traffic, postponed contract signing and iteration, and actively gave up short-term gains such as online subscriptions and list popularity. The author has a clear understanding that this anti-routine, textual research, and deep-core work is difficult to adapt to the algorithm traffic track, but it is a prototype of high-quality IP suitable for the three major fields of film and television adaptation, period animation, and Chinese history science popularization. Compared with creators who are deeply involved in high-quality works such as Ma Boyong, Yan Leisheng, and Thief Dao Sanchi, the author is willing to give up 90% of the traffic readers, accurately retain the audience who recognize the deep value of the work, and strive to polish a complete work that can stand the test of time and have long-term incubation potential. To sum up, "Bay Area Storm" is based on the past of a century of Chinese people in San Francisco, integrating realistic lens narrative, rigorous historical research, restrained humanistic ethics and long-term IP thinking. The author uses his pen as a blade to erect monuments and biographies for overseas Chinese in the ashes of history. He does not cater to the Internet traffic market, but adheres to private historical expression and stylistic innovation. On the platform of pan-popular online literature, he maintains his original intention of serious creation and his unique style of fine literature. It's not easy.

The San Francisco Cable Car is the world's first urban cable car system and the most classic century-old landmark of this mountain city. It has a history of more than 150 years. It was born from a heart-warming touch. In 1869, engineer Halliday was deeply shocked when he witnessed five horses falling to the ground and dying due to being overloaded while pulling a cart on a steep slope. In order to replace the hard work of animal-driven transportation, he used the cable principle to design a new transportation system specifically for the steep slope terrain of San Francisco. In 1873, the world's first cable car line was opened to traffic on Clay Street, perfectly solving the problem of climbing in the mountain city. It quickly became popular and reached its heyday in the 1890s: there were 21 lines and 8 operating companies in the city, making it the most mainstream travel method in San Francisco at that time. After glory comes disaster. The 1906 San Francisco earthquake devastated the city and destroyed most of the cable car tracks and facilities. Coupled with the rise of trams and automobiles, cable cars that were less efficient and expensive to maintain were once completely demolished and eliminated by official plans. Fortunately, with the full efforts of citizens and conservationists, San Francisco finally retained three core classic lines. From 1979 to 1984, the cable car system was completely renovated and rebuilt, the tracks were all re-paved, and the power was upgraded from steam to electric. It has successfully survived to this day and is also listed as a national historical landmark in the United States. Today, the San Francisco Cable Car is operated by the municipal railway Muni, and there are only three lines left: the Pahua-Mason Line, the Pahua-Hyde Line, and the California Street Line. About 40 retro cable cars in the city run all year round, carrying tens of millions of passengers every year. They are not only public transportation, but also a top city cultural tourism business card. If you want to learn more about history, you can visit the Manson Street Cable Car Terminal Museum for free to directly understand the mechanical principles, changes over the past century and old equipment artifacts of the cable car. From being born to be kind to all living beings, to experiencing disasters and almost disappearing and being reborn. The cable car in San Francisco is no longer just a means of transportation, but the most precious urban memory and living fossil of San Francisco.

Images of San Francisco in 1906

"Bay Area Storm" is by no means a fast-food online novel in the traditional sense, but a modern historical group drama dressed in an online novel. With extremely high literary quality and an almost demanding spirit of textual research, the author of "Looking Up Three Feet into the Stream" laid out the troubled times after the 1906 San Francisco earthquake, raising the threshold for creation of similar themes. The upper limit of this work is extremely high. It does not rely on mechanical "gold fingers", but throws the characters into the torrent of the times and the meat grinder of multiple forces. If the subsequent plot can stabilize the tension of the multi-line narrative, it has the potential to become a benchmark for overseas Chinese historical themes. But at the same time, it also faces potential risks that cannot be ignored: the overly heavy historical background and complex power games will inevitably form an invisible threshold, filtering out some of the current general readers who only pursue "system flow" or "invincible flow" and are eager to secrete dopamine without using their brains. Reading suggestions: If you prefer the heaviness of the torrent of the times like "Big River", or are intoxicated by the family epic of struggling to survive under cruel rules in "Yellowstone", then this novel is definitely worthy of your full recommendation; but if you are used to the immediate "refreshment" of online articles, the heavy sense of the oppression of the times in this work may make you feel a little heavy. {"TopicId":"1289712090974322688","TopicName":"Bay Area Storm"}{"TopicId":"1289713852867280896","TopicName":"Classic American Drama"}{"TopicId":"80472 8532092780544","TopicName":"Book Craze Terminator"}{"TopicId":"586286831142961152","TopicName":"Book Craze Recommendation"}{"TopicId":"995007324090269696","TopicName":"Book Review Activity"}

The first season of "Nirvana Night" is about the "chaos, destruction and awakening" on the night of the San Francisco earthquake in 1906. The chaotic undercurrents of the Barbary Coast are surging, and various forces are intertwined... San Francisco is burning with throbbing. Zhao Suying finally discovered the truth - her father did not die in an accident, but was just a "ballast" crushed by capital, empire and "supreme arrogance"; her mother did not abandon her, but was imprisoned in a Scottish manor by her family. But the truth is just the beginning. After discovering the truth, how do you keep it—and how do you find justice? Season 2 "Six Clubs": Less than two hours after the earthquake, Mayor Schmitz signed a "shoot to kill" order on Nob Hill. Capital, powerful people, politicians and congressmen, insurance companies, bankers, agents, underground forces... Are all ready to move, each considering their own interests and calculating how much land the fire can help them clear. The machine guns of the vigilantes were set up at the intersection of Chinatown - they were not stopping people who were taking advantage of the situation, but the Chinese who were in serious trouble. What will happen to the Crawford family who are far away across the ocean? At the same time, the back hall of Ningyang Guild Hall. The heads of the six major halls gathered around a long table with missing legs, counting the missing persons first. Mr. Wu said: After a catastrophe, there must be a catastrophe. The Chinese must unite... What will happen to San Francisco and the Chinese, Italian, Irish, Mexican and other ethnic groups after the 1906 earthquake...? ...... Welcome to the second season, "Six Clubs". {"TopicId":"1289712090974322688","TopicName":"Bay Area Storm"}{"TopicId":"764217703987806208","TopicName":"New book on shelves"}{"TopicId":"5862868311 42961152","TopicName":"Book Famine Recommendation"}{"TopicId":"804728532092780544","TopicName":"Book Famine Terminator"}{"TopicId":"1289713852867280896","TopicName":"Classic American Drama"}

Good looking, please read "Chen Shang Sword Journey"!

The first day of the San Francisco earthquake... The banquet in the bank building continues. A woman in a high-collared dress put her hand on the left arm of a handsome young gentleman. She was helped by the young man to slowly stand up from the sofa and slowly walked to the window. She looked out the window at the burning skyline, holding a slender cigarette in her hand. "When the fire stops." She said to the handsome gentleman beside her with her charming eyes, "The whole land will be clean." She turned her head, "My dear, I want to give you our exclusive love nest." The woman slowly blew out a smoke ring at the man lazily, elegantly, and somewhat ambiguously. The smoke ring was instantly swept away by the wind through the slightly opened window, and drifted towards the direction of San Francisco Bay.