The Abyssal Soundstage

In other words, this book basically follows the framework of Hell Cinema. It will die in the early stage, collapse in the middle stage, and die in the later stage. In fact, contrary to what everyone thinks, I don't think that the failure of Hell Cinema was caused by the later conversion to immortality. The failure of Hell Cinema in the early stage has been completed since Ye Xiang got on the bus. Moreover, there are problems with the design of the framework of the movie theater, so the writing can only get worse and worse, which leads to the camp war period becoming more tense, and the later period of Anti-Japanese + Cthulhu Ra to the extreme. It's just that at that time, Black Tinder's ability to write stories was a little bit good, and the horror atmosphere was enough to watch, but it was just a burden to move forward. The problems of "Hell Cinema" are: 1. The protagonist is too obscene and has no human glory. The essence of the novel in my understanding is a legendary story. If the characters in the story are not legendary enough, the novel will feel hollow. The protagonist Ye Xiang has an ordinary background, a happy and ordinary family life, no brains and no method in doing things, and his only belief is to survive, but it is empty. In such an ordinary life, where is the weight of living? In addition, when writing, the author unconsciously brought himself into the protagonist, which caused the protagonist to have a kind of toxic masculinity. He often said something inexplicable in the narration, Ye Xiang thought that men should stand in front of women. In the final analysis, the author himself is too ordinary and does not believe that people can have any brilliance of humanity, so he cannot write any highlight of the character. Therefore, to show Ye Xiang's "kindness", he only inexplicably saves Wen Yufan/Bai Yushuo in the play, and then has to talk about "team", "love", "repay" and the like in a very greasy manner, and then uses Li Weisi's coldness as a contrast. After all, has the protagonist ever subjectively saved a male character teammate in the early stage without asking for anything? It's all full of fussy calculations. But in fact, that is not good at all. Kind people never feel that they are doing good, especially the protagonist. If a kind protagonist can do great things without realizing it. For example, in a doomsday novel, the protagonist has hoarded a large amount of supplies, and then someone knocks on the door of the shelter. "Will the shelter supplies be enough after they arrive?" This is what ordinary people think. "Oh no, so many people are coming, where should I find more supplies?" This is the thought of good people. Understand, a good person is not a good person just because he does good things. A good person has a different set of thinking patterns. So, when the author himself is a narrow, ordinary, and unheroic person, it is difficult for him to portray true goodness. The harder he tries to write about the goodness of the protagonist, the easier it is for him to write something artificial, deliberate, full of calculations, like a virgin bitch. Did you know that in the volume "Devil Specimens", Ye Xiang's psychological drama is all about pleasing and showing off in front of the Marquis, full of calculation and vulgarity? This is how narrow-minded people write narrow-minded characters. As the plot develops, the narrow-minded characters reveal their full sense of wretchedness. Going back to this book, this book is already fifteen chapters long, and I still haven't seen the slightest bit of brilliance in the protagonist. As a writer of the same level as you before, the protagonist at this time has at least made an unexpected and reasonable move that can attract readers. In the end, Ning Shi was still the trembling Ye Xiang in the bus, and still the chess piece manipulated by the theater script. 2. The narrative is undisciplined. There are two kinds of undisciplined narratives. First, the author insists on inserting imbecile and childish politics and insinuations into the novel; second, in order to make up for the number of words, he adds long paragraphs of hydrology. In fact, both can be classified into the same category. Students who have studied screenwriting will definitely be able to find out - do the [scenes] in the novel constitute a change to some extent? Is it an [event] or a [non-event]? Does it create a [point of no return]? To put it simply, if you remove it, will it affect the appearance of the next plot? Hell Cinema often appears in untimely places with large sections of real-life scandalous material and official shady material without any respect for readers and novels. It is mixed with private material and extremely damages the atmosphere. At the same time, hydrological conditions often occur that interrupt the rhythm of the narrative. This book only has 15 chapters, and there is no political establishment or mapping. However, the hydrology is too serious, especially the design of various permissions. I can only say that it is very failed and very overwhelming. If a plot requires a long setting to unfold, it either means that the plot is a failure and should not be written, or it means that the plot should not appear at this time. It's not as good as Hell Cinema. The buses in the first volume only have simplified death certificates and the design of cursed objects that only appear in the second half of the volume. This book has so many fancy permissions in just the first volume, and even the editing permissions that appeared in the previous chapter have to be patched up in large sections in the next chapter. Isn't this hydrology? This is hydrology. Although it does not have a hydrological purpose, the damage to people's perception is the same. 3. The emotional line is a mess. Ye Xiang's own portrayal has failed very much, and the failure in the emotional line is even more disgusting. There is no core, and the deliberately designed emotional "defects" make people feel artificial and inferior, making readers feel that they have been fooled. This book only has 15 chapters, I can't say, but I believe that with the author's emotional history, he will not be able to write a good emotional drama in this life. I will put my words here and welcome the author's slap in the face. I think it is a personal choice to get married or not, but I also believe that the great masters of your age, the author, basically get married and live a happy life. You have no choice but to remain single and surf the Internet intensively. 4. The supporting characters are extremely stereotyped. The portrayal of important supporting characters such as An Yuexing and the Marquis failed very badly. They did not portray the core of the character. They just piled up empty rhetoric such as "he is very strong and very handsome". After reading for a long time, I still can't find out what is good about this character. I don't need to read the whole book. "Ni 3" has not yet started. In the volume of Demon Specimen, the inexplicable deflation of the Marquis and the mechanical deity in order to maintain the character of the supporting character appear. This is actually a problem of the author himself, because no matter which character he is, he is essentially a spiritual extension of the author himself. If the author is an empty person, then no matter what characters he writes, they will be full of dullness and stereotypes. Maybe the author thinks Cthulhu is cool, demons are scary, Western aristocrats are noble, and Japanese are bad, but those are all stereotypes that make readers seem completely inexplicable. In other words, an immature person cannot write about the terror of Cthulhu, the power and pervasiveness of demons, the dignity and cruelty of Western aristocrats, the good and bad of the Japanese, and their extremely twisted characteristics. After reading the novel, none of the characters left a deep impression on me. Only the setting of the Hell Cinema left a lasting impression on me. This was actually a huge failure. Going back to this book, Chapter 15 didn't even impress me with the protagonist, let alone the supporting characters. The only one who had any impression, Lao Zhou, died in the next chapter. It can only be said that the supporting characters of this book are amazing at a glance. 5. The writing is childish, the horror atmosphere is insufficient, and the copy design is lacking. In fact, this is the biggest problem of Hell Cinema, which is the core structural problem. Ghosts appear inexplicably, and the character's use of cursed objects makes me feel like an online game prop. The logic of the copy is insufficient. It gives me the impression that smart characters are not popular in dungeons. Because there is no room for subjective initiative in the dungeon and must be manipulated according to the script. The so-called blank period of the plot is actually to obtain information based on the author's face, but because the author himself is a lazy guy with no brains, in order not to destroy the already designed plot and rewrite a new plot, it is impossible for the characters to obtain any information during the blank period. In other words, the actors must all be very passive. They cannot obtain information that can give them an advantage in any action. They can only desperately use cursed objects/supernatural professions to accumulate values, and then wait for the ghosts to appear and resist. In fact, there is a problem in the structural design: -There is supernatural power to fight against ghosts -Ghosts are invincible -The plot cannot be violated Have you discovered that this is an impossible triangle, 1+2 is the intellectual route, and the supernatural power itself It is a life-extending prop rather than a direct pass, so I just need to make extensive changes to the script to skip classes; 1+3 is the strength route, which requires actors to be tough on ghosts, and they must be able to kill ghosts like Chen Dachui; 2+3 is the strength route, and if you follow the script completely, you must be able to withstand ghost attacks. The first and second clauses conflicted with each other, and the third was a very poor script requirement that blocked any room for maneuver. "Infinite Horror" was written earlier than the movie theaters and is famous. Look at how zhttty handles the plot and actual time travel. The author's insistence on setting strict script requirements is actually because of his lack of intelligence and not wanting to be lazy in designing smart battles. As a result, the script is as rigid as the laws of physics, which means that intelligence cannot take effect within the rules. This is almost the same design as the New Three Kingdoms. Author, you have created a god, do you know? The character is alive because of God's will, and the character's death is also God's will. The character becoming stronger or weaker is also God's will. Ye Xiang's defeat of An Yuexing is also God's will. Oh, Ye Xiang may still have the chain of benevolence and the ghost shackles of justice. If Ye Liu is hammered with stone, then the 13 theater group will be destroyed if the entire army fights to the last moment and commits suicide. This design is still too advanced for today's human civilization. If you want to create supernatural force resistance, you should strengthen the advantages brought by the character's intelligence. But the feeling given to me by Hell Cinema is that if I throw Chu Xuan from "Infinite Horror" and Feng Bujue, who had two nights of sleep for three days, into it, I still won't get much benefit, and I have to die. Then I think this is not a problem with Chu Xuan and Feng Bujue, this is a problem with the design of Hell Cinema. Readers all have simple benchmarks in mind. It is common sense that being smart enough = high survival rate. If you flip the table and end up in the street, you deserve it. Back to this book, in fact, it still does not break away from the old impossible triangle. The first is the fight against supernatural powers, whether it is cursed objects or authority, it is actually the same thing, and it will not become something else just because you add water and dough; then there is the invincibility of ghosts, which is a core element that cannot be lost; and finally there is the strict execution of the script. So far, there is no hint that the script can be changed on a large scale, so can I think that this book is still the paradigm of hell cinema? Is it still going to be a story about supernatural ghosts fighting authority dogs in the later stage? To sum up, at present, this book still has not escaped the shackles of Hell Cinema. Even if this book is written step by step, it will definitely collapse in the mid-term.

I can be considered an old reader of yours. When I was in junior high school, I saw "Abnormal Horror" so scared that I didn't dare to go home alone during self-study at night. The following "Hell Apartment" and "Hell Cinema" were also shocking. I always believe that as long as you get rid of your habit of mixing in private things, you will become a great master sooner or later. But, what are you writing now? I just finished watching the first plot world. Is this plot even the slightest bit scary? I just find it boring, with large sections of settings thrown out directly, and character settings that appear frequently. Is this a problem that an old author who has been writing books for more than ten years should make? And regardless of these issues, the most important thing for a horror novel is to make readers feel scary and scary. To do this, the author must constantly describe the horror atmosphere in the book. Have you described it? I read it twice, and you only described it twice. The first time was when the protagonist discovered that the cleaning tools were made of hair and human skin. The second time was when he discovered that there were many bloody palm prints on the red fax machine. Then what? No more. You only described the entire movie task twice, so how do you make it scary for readers? Apart from anything else, the protagonist's teammate is dead. You should describe it more and highlight it, right? How did you die? What is the way to die? You just disappear and that's it. That's it? ? ? When the victim in "The Horror" was pulled into a water pipe and died, I was so scared that I didn't dare to go to the toilet. Now, this? ? Even when the mission is over, the ghost comes out. You don't even want to spend more time describing the appearance of the ghost, just say a pale woman and that's it! ! ! ? ? ? Have you ever figured out that you're writing a horror novel? Even if you don't mention the horror aspect, from a pure infinite flow point of view, your first plot world is boring. Everyone is like NPCs. Without any will to survive or subjective initiative, they will only passively accept the instructions of the fax machine and then die. What about the struggle? Looking for a way out? The supporting characters in "Hell Cinema" will actively turn back time to survive when they are about to die. They are more like living people. In this novel, I feel that they are like NPCs whose only function is to follow your plot arrangement and die. Tinder, you really need to think about it carefully. The most important thing for an author is to write a wonderful plot. It doesn't mean that he doesn't write private stuff.

After saving for many days, I just waited for the third volume "Three Days" to be completed before reading it, and read it in one go! The feeling of pleasure is overwhelming, this is Huo Da's true strength! The constant emergence of various famous memes makes people feel one little surprise after another, such as cursed objects, death certificates, strange horrors, psychics... This is a surprise that only old fans can feel. Including the cursed object itself, although there is only one word difference from cursed object to cursed object, readers from the "Hell Cinema" era will understand that it is full of emotions. Of course, in order to make a detailed distinction in the later stage, cursed objects are only used in Sequence 6 and above, while curse mediums are used in Sequence 7 and below, but it is easy to distinguish. The common point is that they use the power of ghosts to fight ghosts, and there is a risk of curse resurgence. The difference is that cursed objects contain the power of a complete ghost and have stronger repelling capabilities. Of course, it's definitely not enough to be immersed in small surprises from past famous stories, so Huoda also created other surprises for us. The most shocking thing was Helen's sudden death. The actress in Sequence 7 had just shown her approval of Ning Shi, and suddenly her head fell off! Oh My God! Do you want to scare people to death? Is it okay to play like this? But it does give you a sense of familiarity that belongs to the fire element... It suddenly scares you in an unexpected place. You have no idea where he will scare you or how he will scare you. In addition, it is the third volume that shows us for the first time that the Abyss set is different from the Hell Cinema, but also a darker side - falling into the Abyss. Of course there are pitiful small cinema chains in Hell Cinema, and they may be destroyed by some big shots who are too full and have too little work (Yuan Xue Xun, I am talking about you), but they will not fall because the ranking is too low. But the Abyss Studio will really fall into the abyss. Originally we didn't know what the consequences would be if we fell into the abyss, but judging from the third volume, there is a high probability that it will be a dead end, and if you die, you may become a ghost and continue to work on the Abyss set (dog capitalist). The most unexplainable thing is that they are not allowed to look into the abyss. If they take a glance, the actors will fall into the abyss even if the theater itself has not yet fallen into the abyss. This is absolutely crazy. Not only is the situation miserable, but the most annoying thing is that the food and medical and health conditions are not as good as those in Hell Apartments and Hell Cinemas. I admit that hell apartments and hell cinemas are also perverted, but at least the food conditions are good; and as long as you finish executing Scarlet Words or filming the movie alive, the apartments and cinemas will give you free medical treatment. The Abyss Studio treats your injuries and collects money, which further proves what it means to be a dog capitalist. It's hard to say what's under the abyss, but from looking at it, we can infer that there's a high probability that it's another American giant squid that needs to be dealt with. If there is any surprise, it is that Huo Da's skill in shaping supporting roles has once again been demonstrated. There are at least two supporting characters in the third volume that impressed me deeply, one is Hei Biao and the other is Aunt Hui. Hei Biao was very loyal and saved Ning Shi's life. Before the end of the third volume, I had been worried about Hei Biao's death, because for such a loyal and tough guy, I never knew when I would write him to death. Luckily he survived and hopefully he lives a few more volumes. Aunt Hui is really a typical example of the pity of parents in the world. Her son, a gambler, could not be saved, and Aunt Hui also died a heroic death. Huoda's portrayal of tragic supporting characters is still so good. The fourth volume is already being serialized, I am still looking forward to it, and congratulations on the successful release of this book! Come on!

Volume 1 Cleaner The biggest problem after reading this volume is that the image and character of the protagonist have not been established at all. He does not look like someone who has participated in several horror films, and this horror film is the protagonist's third film Also, this volume does not establish a horror atmosphere at all. Compared with the first volume of the old movie theater, the number of characters is particularly large, but the flaws are not concealed. The content of this volume is almost the same as the first volume of the old movie theater. Volume 2 The core problem of this volume is that the author's writing perspective is wrong. The protagonist is an 18-line supporting character. The perspective is inexplicable, and it ends inexplicably at the beginning. The author should use a group portrait writing method, which is to use multiple camera shooting techniques to let readers understand the whole story, rather than from the perspective of a dark cannon fodder, which is inexplicable. It's over, and this volume is a co-production of three theaters. From the perspective of old cinemas, the target of a three-theater co-production should be the grand narrative concept of "Dead Silence III", plus the character experience of at least three to five supporting characters. However, after reading this step, I have no impression of any of the supporting characters from the three major theaters, and sometimes I can't even remember the name of the protagonist! This volume's benchmark for Boss Cinema should be "New Neighbors", but its tension, excitement of the story, and highlight of the supporting characters, or the depth of the supporting characters' impression on readers, are simply not there, so this volume cannot be compared to New Neighbors at all Volume 3 Three Days It must be said that the third volume has brought the author's strength back to the level of the cinema. The benchmark of this volume should be "Ghost Hotel", which is the previous Lan Keer incident. The overall horror level, narrative level, and story completeness of this volume are no problem, and the scope of horror is also the best among the five volumes so far. However, a huge problem is still an old problem, that is, there is no outstanding supporting role at all. After the end, readers only remember the male protagonist Volume 4 Runri Fierce The biggest problem with this step is that it is a film co-produced by the protagonist and an important supporting actress, and it is also a theater cooperation film. However, the author of this volume only followed the setting of Jiao Mengqi's Hatred in the old cinema, which did not shape the supporting actress well at all, and this The supporting actress does not have any highlight moments in this story, which makes the reader very unimpressed, and it is already written in the fourth volume. The benchmark for the old cinema should be "The Return", but the "Return" is directly a god-like work in the old cinema. At that time, the movie "Return" was just hiding under the covers. The face is trembling, but this film is very similar to a Japanese family horror film, but it does not create the Japanese atmosphere at all, and the most important thing is that until the fourth volume, only the male protagonist has an impression in the reader's mind, and there is really no supporting role that has an impression. Volume 5 Horror Mansion This volume is also the latest one. Let me talk about the advantages of this volume first. This volume finally has new actors, so the horror atmosphere has been improved. It is also the volume with the second scariest and second most exciting atmosphere among the five volumes so far. At least in this volume, I have an impression of the two supporting characters, the female anchor and the top brother. There is a description of the highlight. I currently hope that these two supporting characters can enter the cinema smoothly and become the backbone. Moreover, the supporting actress who previously co-produced with the male protagonist in this volume and the heroine who starred in this volume also hope to write a highlight moment that impresses the author, rather than just a pendant  Finally, to sum up, I hope the author can shape the supporting characters more, and the author must remember that this is a group drama, not a fantasy novel like Mortal Cultivation of Immortality, Immortal Rebellion, etc., Where the protagonist changes scenes from the first perspective and explores the dungeon to run through the protagonist's cultivation and connect the plot. Horror films still need to fully shape each supporting character.        A book review by an author who has been a fan for ten years. I read Hell Cinema twice. After reading it back and forth, the camp struggles in "Alien Classroom", "The Return", and "The Nitrel Family" in the cinema are the best. I hope that the old version can continue the camp confrontation, intrigues, and pvp links. After all, Fighting with others is endless fun. I read some other book reviews. On the contrary, I think the camp struggle is more interesting. There are also the three forbidden spells of black magic in the previous work, and there are other three forbidden movies. Some of the foreshadowing laid in the previous work, such as the reverse rotation of time and space, can be re-written. But don't write about anti-Japanese war. I hope that when Japanese characters appear, they won't write about the Anti-Japanese War or feelings about family and country

Has no one read any Tinder books?

Come on

Awesome. Finally waiting for the new version of Hell Cinema😍😍

All Ning Shi thinks about now is survival and ordering, and things like falling in love don't interest him at all! Anyone who asks if there is a heroine will delete the post

Do you still remember which characters you have created in Hell Cinema up to this point? You portrayed Wen Yufan in the first "Horror Bus". Although the reputation later dropped to rock bottom, at least the creation of this character in the first film was successful, otherwise there wouldn't have been so many people supporting the heroine Wen in the beginning In the second "Confinement Room", you portrayed Yu Chen. Although you only survived this one and you darkened him later, there are still many people who feel sorry for the role of Yu Chen In the third part "New Neighbors" you created Bai Yushuo, one of the most successful heroines in your works The fourth part "Ghost Hotel" was established by Li Weisi Live, although it is written as a villain The fifth part "Return" is Fang Leng's home, but Fang Leng's character has actually been established during the intermission in the early cinema The fifth part is equivalent to the current plot progress of the new book. The main characters of Thirteen Degrees Cinema have basically All have been created, and Jiao Mengqi, the only one who does not have a movie home, has also been shaped through the interludes. The next two "Ghost Road" and "Demon Specimen" have begun to shape the characters outside the theater Have you created any supporting characters that satisfy readers so far in this book? The first "Haunted House Cleaner" is also a group-killing story where the protagonist survives alone. Lao Zhou is also a warm-hearted big brother. Both the horror of death and the characterization are completely inferior to Yu Chen The second "The Ghost Story of the Hidden Street", I still have complete respect for the movie theatergoers who participated in this horror film with the protagonist. I have no memory, but I remember that Lei Quan was in Sequence 8. The ending of the plot was collected by people from Sequence 7. The protagonist Chun was here to make soy sauce. The only actor I remember was Deng Ming, who sold the curse matchmaker in Sequence 7 cinema. Now I look back at this horror film in which Gu Tong and the protagonist participated. So what did Gu Tong, who is obviously an important supporting role in this book, do in this movie? You can arrange for the protagonist Gu Tong to get the two cursed matchmakers in this movie together. The third film "Three Days" was co-produced with a foreign theater, but it is the one with the best impression of the supporting characters. Unlike the wastes of the protagonist theater, Aqiang and Hei Biao are actively promoting the plot to find a way out, using the authority twice To save the protagonist, the death of the woman who gave him money for his son's gambling is not worthless The fourth part "Leap Day Evil Spirit", the character creation 🤡The completed one, Su Wan, the low-profile version of Jiao Mengqi, the same every day Crying for revenge, even though Jiao Mengqi was kicked to death as a man on the roadside in the end, it was purely because An Yuexing was too strong. Don't you see, the Marquis and the entire exorcism camp have become 🤡 in Ni 3. At least Jiao Mengqi can be regarded as the thirteenth degree in the early stage. One of the pillars of the cinema, who can revive and save people despite being cursed, Su Wan is a loser. She talks harshly every day about how useless she is, and her revenge depends entirely on the protagonist. In the movie, she didn't even see what she did, and she just passed the test by lying down holding the protagonist's thigh. As for the villains in Sequence 8, there is no need to go into details. The pirated Lao'an, pirated Marquis and Su Wan's brother's character are all affected by this. We don't know why Gurry tricked Su Wan's brother and made deals with the leaders of the two camps. The main characters in the theater are somewhat well-established. I now only want to describe them as Gu Tong (a pretentious but good-for-nothing girl), Su Wan (a good-for-nothing girl), Shen Du (a wasteful dog-licking man), and newcomer Fang Xuan (the second dog-licking man). Of course, except for Su Wan, the remaining ones have no chance to perform at home. I may change my evaluation later. If these characters are important roles in this book, then after five parts, the characters have not yet been established. When are you going to shape them? If they are supporting roles, when are you going to give them a lunch box? With your current level of character creation, are you going to write a horror film from a non-protagonist perspective? In the old movie theater, you could write about the protagonist participating in a horror movie, and at the same time establish the characters of other characters participating at the same time. With the new book, I can tell you the truth, not only the supporting characters, but also the protagonist's character has not been established yet.

The first copy, kill the ghosts directly The second copy, disperse the ghosts The third copy, expel the ghosts The fourth copy, rely on ghosts to drive away the ghosts Let's look at the movie theater again The first copy, hold on until the time is completed The second copy, hold on until the time is completed The third copy, Yu Shuo's coma and death coupon almost used up the sealing door The fourth copy, breaking the mirror and sealing the channel for ghosts to come out. The heroine is still dead. So can you see the problem? Mysterious Resurrection has learned your ghost resuscitation. You can't learn Mystical Resurrection to directly seal/disperse the ghosts. You don't follow the fantasy route here. You want to reflect the actor's struggle. Now every script you have to kill the ghost before you finish it. Where does the horror come from? I feel you may have gone into a misunderstanding.

There is no heroine yet, which is ridiculous. I guess you want to be a cuckold after I give you traffic, right? One of your reasons for not having a female protagonist is to attract the so-called female readers. The other is to assign female characters to male supporting characters, leaving everyone speechless and unable to hide their cuckold intentions. Anyway, I won't believe you anymore! Your previous cuckolding operation made me sick to the point of vomiting! You are at least in the top five on my list of most hated authors! Never care about the readers' true feelings!

Hell Apartment is an enlightenment. When I was in school, I would recommend it to everyone. I hope Huoda's new book can regain the feeling (please don't write the heroine to death this time 😭)

This is the first time I have read your book, but I have heard about Hell Apartment and Strange Horror all the time. What I say next cannot be regarded as suggestions and cannot represent a certain type of readers. It is just my personal subjective opinion. I have been following you all these days, and I am always paying attention to the comment section. At present, it seems to me that you are in a dilemma, Laohuo. Before I give any suggestions, I would like to start by talking about the current online writing environment. In the current environment, the audience for supernatural literature is divided into two categories. The one that pursues suspense and reversal requires relatively tight logic, a strong sense of game, and exciting reversals. The battle of wits does not have to be clever but must be enjoyable. The male protagonist must be a calm and decisive (pseudo-human) character. Representatives of this type of novels are The House, Ghost Eye, The River, Nightmare Attack, and Above the Mist. This type of book appeared relatively late, especially Tomato. Several books are rising stars in recent years, and Stitched Monster House is a small hit. These readers are mostly new readers. They don't like logical loopholes, but prefer suspense and reversal. Even if the suspense part is about shooting arrows and drawing targets, the copy is written like an expository text without too many picturesque descriptions. Readers still buy it because they prefer this method. The second type of readers is completely opposite to the first type. Most of these readers are old readers. They pay more attention to the sense of immersion, the horror atmosphere, and the creation of ghosts. These readers have read more supernatural novels. They have read them since the time when your horror novels first came out. Compared with the rising stars above, they prefer supernatural novels. They can tolerate various logical problems, as long as they are not too outrageous. However, if your writing is not scary enough, they will never buy it. This kind of readers are more interested in thrillers and excitement, not the first type of drowsy expository writing. We don't need to worry about which group the mainstream audience is on the market. You must first be clear about your positioning, fire, and popularity. Your positioning is the author of the second category of books. Your advantage is supernatural horror, so most of your readers are readers of the second category of old classics. Suspense, rules, reversals and logic are all your weaknesses, or points that are not outstanding. This has been tested by the market. In other words, if you want to write this kind of book, it will be difficult to compare with your peers, because you are not on the same starting line. How long will it take for you to reach their level? Of course, we can also learn from Guishe, find a few classic supernatural texts, take good settings and copies based on the principle of borrowing, sew them up, change them, and add some themes to sublimate the emotional value. There is still a market for such books next door, but can you accept this? Can't? I think you, Huoda, are also a person who is unwilling to settle for mediocrity, otherwise you wouldn't have written a book full of surprises like Weird Horror. Going back to what I said before, now you are in a predicament. You have fallen into a strange thinking circle constructed by readers and yourself. Because of your previous insistence on going your own way, you have stepped on the thunder of too many readers and lost your credibility. By the time you want to recover, you have lost too many readers and you have reached the bottom. You are no longer The starting point that was once famous was a supernatural one, but this gap makes you unwilling. At this time, you want to start from the beginning and start to take into account the feelings of some readers, but the words you write are full of constraints, as if you have committed learned helplessness, afraid of making mistakes, and afraid that if you continue to write something, you will miss the mark and lose your follow-up. You may even be confused about whether the setting of a cursed object has been removed. For this reason, you must carefully patch these privileges in subsequent chapters. However, throughout the whole writing process, you clearly made no mistakes, but the effect of your writing was unsatisfactory. Why? Because you have lost your past advantages and are too obsessed with the feelings of some readers and have ignored your original moat. Another current situation is that the readers who are currently reading have a sentimental filter for the first half of Hell Cinema. They have very high expectations, but you have not impressed them until now. It will inevitably cause a huge gap, so there will be complaints in the comment area. I know you must be very embarrassed now. The author has his own difficulties, and the readers also have their own difficulties. There is a conflict between the two sides, which is equivalent to creating a situation where the same thing is blocked at both ends. In the face of this situation, please allow me to express my own opinion. If it is useful to you, I am deeply honored. If it is not useful to you, just think of it as fart. You who pay too much attention to readers have been blinded. You are an author. No matter how many criticisms you receive from readers, all their criticisms and subjective feelings are only from the reader's perspective. Some of them may be helpful to the work, but in most cases it is easier to mislead the author. You have many worries about this, and in the end you become a puppet set up by the readers. You are not writing a book at all. No author can meet the expectations of all readers, let alone an online author. The reason why readers are so poorly tolerant of you now is because you have not lived up to that expectation - horror. As for the cursed object, the sequence, these settings are not important, they are not important. The important thing is the horror! Settings are just the icing on the cake. No matter how your settings fail to meet readers' expectations, it's all trivial matters. It's just Xiao Lei. He can get through it if he doesn't fear too many small Lei. What he's afraid of is Big Lei. What is the real big thunder? It was you who "changed the heroine", "changed the style of writing by cultivating immortals in the middle", "introduced the plot of giving away the daughter", and "engaged in the devil of the West." The real big surprise is "this novel is not scary!", Those so-called intellectual infighting are not big blows in the face of these. Once you write an extremely scary episode later, these problems will be solved easily, and readers can continue reading no matter how much they scold you, because you have written what they want to see - the horror plot. As for logical problems, broken settings, and occasionally some mechanical gods, those are all things for the future. If the front part is not scary, who will continue to read your book. Horror has always been your reputation. You have had shining points since Alien Horror and Hell Apartment, but you later discarded these highlights. This is obviously your advantage, the moat you were best at in the past. So you are in urgent need of breaking away from this layer of thinking. As long as you don't guess the big thunders, it doesn't matter if you step on the small thunders. As long as you can improvise according to your own, find the feeling of the year and describe a scene that is scary enough. And horror involves one of the most important points, which is also the biggest moat you have lost in recent years - ghosts. How do you write about ghosts from your past? You have written about ghosts that turn people into tubes in horror movies, ghosts that can cut off heads and stick them back on, causing their heads to fall to the ground when the dead are remembered, and ghosts in the Hell Apartment in Youshui Village that wantonly manipulate time and let the supporting actress stab herself to death. In addition to being inhumane, these ghosts all have one characteristic - both their appearance and their killing methods are dramatic. Why the opening chapter of Mysterious Resurrection is so attractive is also because of the drama of the knocker. The ghost we want to see is not only incapable of useless communication and inhumane, but also needs to have its own soul, be unexpected, and even exert its own uncanny valley effect. A work may be boring at the beginning, but if it is interesting in the end, known by others, and spread, countless new readers will come to read it. Why does Gu Zhenren, whom everyone calls for a beating, still have so many fans paying for it? It's because he wrote the big scenes well, which is the highlight of Gu. Why the Lord of Mysteries made me feel so bored and sleepy when reading it at the beginning, but couldn't stop reading it after reading it? It's precisely because his outline is well written, and his foreshadowing part makes readers of this audience feel wonderful. This is the unique highlight of Mystery. And Huoda, the biggest highlight of your past books and the most unforgettable memory for readers are the ghosts in your works. If you can't write such a ghost now, then the biggest attraction of your book will be gone. So feel free to write! If you continue to write the previous ten chapters, this book will only become a different product. It is neither like the original hell cinema nor the logically rigorous suspense copy and flow like the first type of book. It is just a nondescript product. What you have to do is to let go of writing, write a book with your own style, and regain the feeling you had back then. Even if this book is too scary and is blocked, it just proves that this book is indeed good. In the long run, your reputation will be improved. Many readers who have read it will think back, "Ah, the firebrand back then has come back, and the book has that flavor." Later, if you want to write Hell Cinema 3, more people will read it. Word of mouth is really important. The Squid and the Sword and the Zhudahuang was written like a pile of rice porridge. Why are so many people reading it? Because his reputation is still there. Why is Chen Dong's fans so sticky? There are still so many people following it even after writing it. It's all because of his reputation. As long as your book is written, there will be room for improvement in word of mouth. In the long run, there will be no loss at all. I once said in the Horror Novel Forum that my attitude towards Lao Huo's new book is to question it first and then question it, but I don't believe it. Lao Huo's condition has always been stable. And I said in another post, "Ghost horror is the product of being partial to science to the extreme. It lacks the rules of the infinite flow of horror and has more original fear. It is this extreme partiality that successfully covers up numerous shortcomings. Tinder used his extreme partiality to pull a book that could not pass a seven-point writing level to an eight-point level. It is difficult for me to find another person who can write about ghosts like this. This is a wonderful meal replacement. " Among the domestic supernatural online articles, in my mind, the supernatural horror is second only to the Tomb Raider Notes. This is not only a filter, but also a kind of love. There are too many readers like me, scolding you for your failure, and at the same time hoping that you can stand up and write a new book that is eye-catching. After all, we hope that the supernatural can return to the era you and Yixiao created. There are some words that I can't remember, so I'll just ramble on for now. Come on, Tinder, stop getting stuck in the quagmire of settings, stop thinking about how to please some readers, adjust your mentality, let go of writing, and let us old readers meet a real ghost again!

The title of the book is bad. In addition, Tinder, it would be better for you to release 5-10 chapters at once. After all, it has been a long time since the last time you had a big fire in the movie theater and a small fire in Devil's Apartment. You can put more of it to let everyone see if there is any internal odor, so that if there is any problem, it is still too late to correct it. Everyone really has a lot of expectations for Cinema 2. Brothers who agree, please give me a like

This time, let's see if Mr. Fire🔥 can persist until which chapter he gets sick 🙂

Hell Cinema is my inspiration for horror novels. As long as Huoda maintains its standards, I must support it.

The following is what I want to say to Black Tinder: This book gives me the feeling that you wrote it under pressure. Why do you say that? I can feel that you are too restrained and restrained. Your cautious attitude is right, but for this kind of spiritual horror text, it is beneficial. There are also disadvantages. If you think about it carefully, your previous works on the gods did not consider the readers or the market at all. They were purely written for fun. As a result, spirituality overflowed and the book became popular. Although there were flaws in many places, it was generally passable and had your characteristics. But what about this book? You went the exact opposite way! You dare not let go of writing, you are afraid of being scolded by readers, and this book can also be called the last battle of your career. Although it is unpleasant to say, the current situation is that if this book continues to go cold, you will never have a chance to get up. Depending on the answer in your mind, are you fighting for yourself or the readers in this book? If it's the former... I think you should be more relaxed, otherwise this book will most likely be sold out... So many readers are giving you advice and asking you to write how you want, and I may be the only one who posts at the moment and doesn't give you any advice, but lets you do what you want in your own mind. "Black Fire" is written to respect your heart. Instead of becoming a "Black Fire" for readers, it is better to be a "Black Fire" that belongs completely to you. At least in this way, no matter whether you succeed or fail in the final battle, you will be worthy of yourself, the past you, and the future you.

I watched The Hot Apartment and the Cinema eight years ago when I was still in school. At that time, I didn't have many ideas about the relationship between the characters in the cinema. Speaking of the horror plot alone, at least before "Nitler 3", there were still many outstanding aspects in shaping the overall horror plot. For example, the description of the overall depressing atmosphere of the Five Ghost Hall in "Return"; although "The Ghost Road" is a confrontation copy, the overall plot rhythm of the chapters is very good, and there is always a sense of urgency of being targeted by the ghost road; including the creation of the weird atmosphere in the school bathhouse part and the part of entering the cave in "The Devil's Specimen"; and other movies like "Paganism" In the final plot of Chang Yue Island in "Room 1", everyone except Ye Xiang has the influence of the curse that is forgotten after death, and unknown and very strange ghosts with time and space elements are everywhere. This kind of cloudy atmosphere; even after Ni 3, there are excellent chapters such as "Map of the Underworld" and the cinema version of "Dead Curse Island". These excellent chapters very well reflect Huoda's excellent writing skills in single-chapter plot design and horror environment creation in horror novels at that time. Perhaps from the current point of view, the language logic is still lacking in some places, but it can still be considered very powerful for the construction of copies of horror novels. But after reading these ten chapters of the new book, I always feel that the plot is a bit too compact. In these ten chapters, more than 30,000 words are crammed into it, including the plot of this dungeon, the plot background of the protagonist before filming the third movie, all the underlying settings of the book at this stage, and a detailed introduction to the abilities used by the characters at this stage. It gave me the feeling that too many settings were crammed in before the plot was laid out, that is, the main storyline of the dungeon would jump to the introduction just by looking at it, which was a bit weird. The first bus dungeon in the cinema period did not have this problem. At that time, it briefly introduced the settings related to the Death Voucher. The opening chapter described the reason why Ye wanted to enter the cinema and the settings of the script, and then basically entered the plot of the dungeon. When encountering unavoidable settings, I could only briefly talk about the general settings in two or three paragraphs, which would not cause the overall dungeon rhythm to be dominated by the setting. It allowed me to be more involved in the plot of the dungeon without being distracted by the thrown out settings. I hope Huoda can find a way to get rid of this sense of drama, so that readers can pay more attention to the plot of the dungeon. After all, the opening is the key to determine whether a considerable number of readers will continue to stay and watch. Old readers also very much hope that Huoda's new book will sell well and bring back the horror and supernatural area. Now the supernatural area has not found the pure horror feeling of the past for a long time. (P. S.: When I was in school, it was inconvenient to watch the movie at any time, and there was no physical book in the movie theater, so I had to buy a pirated version of the entire volume. Now I have paid for it at the starting point. The apartment has an official physical book, so I bought it all. Unfortunately, the content has been deleted.)

At present, the new book seems to lack a sense of horror, a bit like reading explanatory text. The setting of permissions feels like a failure. As for Cursed Objects, this is strictly the most important legacy left by the cinema. It has a great influence on horror online literature and needs to be retained. As long as the intensity is controlled well (no mysterious creatures wearing cursed skins such as immortality and teleportation) Magical abilities, don't have a plot where cursed objects can be used to attack normal humans at will) And the above is just a side detail. What really makes me think that there will be a big problem later in this book is the theater setting similar to a movie theater. There are a lot of movie theaters, and they are ranked among each other. The theaters with lower rankings will all be wiped out. Tinder is a clear sign that "there will definitely be pvp later" If we say the biggest failure of the movie theater book, the mid-term transformation to immortality ranks second, and pvp is definitely the culprit. Since you're writing a story about a movie theater, it's important to write a movie well. There were minor flaws in the bus and claustrophobic room at the beginning, but they were innocuous. Until the two major camps appeared, it was really disgusting to watch. From the author Tinder himself to the characters in the book, everyone began to ignore the movie itself and engage in so-called pvp battles. Ghost Road, Devil's Specimen, Flight 444... What a good theme (even if it's a devil's specimen, I think the subject matter itself is good, as long as the element of the devil is replaced). As a result, the Ghost Road movie is busy grabbing notebooks, and the devil's specimen is busy studying demons. Hunter, the funny Night King of Flight 444 is here. The demon camp of Flight Ghost Festival attacks Ye Xiang twice. Is this a hell cinema or "Demon War Exorcism"? Until the finale when he is chased by the old days, he still has to pvp with the little days. How much does Tinder like pv? P It's not just once or twice that I want to stuff private goods and ruin good creative themes. I complained about it in the book review section of the last book. There are really many copies of good ideas in the Devil's Apartment. The cross-dressing boss secretly photographed the ghost opposite. The blood letter is pretty good. As a result, he came up with a solution. Boss Han and the mercenaries he sent escorted his younger brother. They had a good time hiding from ghosts in the park, but apartment residents from a parallel universe came to grab their spot and entered the supernatural area for a live broadcast. They relied on rewards to fend off 👻's blood-letting. As a result, it didn't take long for them to enter a messy fictional world. Tinder gives me the impression that I can be creative, but I don't seem to want to write about it. When I write about an apartment, I don't want to write about the story in Scarlet. I think about arranging messy plots and pvp in Word about Scarlet all day long. When I write about a movie theater, I don't want to write about a movie properly. I think about arranging some camp battles all day long. As far as my personal feeling is concerned, I suggest that Tinder delete the so-called settings of a bunch of theaters and rankings when the book is just starting to be written. There is no need to make major changes. Just a few sentences are enough. There is only one cinema. The best thing to do is to write the horror movie itself well, not the cursed objects and permissions issues that Tinder is struggling with. Let's take a funny analogy. If we use the current thinking to write about an apartment, Li Yin enters the apartment at the beginning and is then told, "We are apartment No. 15488. We are ranked low among countless apartments in the world and there is a risk of falling into the abyss." Isn't this purely funny

There are some things about Tinder that I don't like. Anyway, I very much hope that you can turn around with this book. But this book makes me feel that it is not scary at all. Yes, 4 copies will not give people a scary atmosphere at all. The first copy is clean and contains a lot of descriptions of human structure and a lot of setting. The second copy is short and mixed with the capture of the curse medium. In the end, it just goes to the final scene and ends without anything happening. The third copy is barely okay. At least the supporting characters can block a lot of knives, but there are still two questions to ask. First, is the 7-liter 6 boss too weak? Not to mention being restrained by the hairpin, the protagonist can easily seal her for a period of time every day. Secondly, except for some sudden killings, does it have no special abilities at all? The protagonist, a newly awakened little Kalami psychic, can restrain her very well. And I feel that the third one There are a lot of descriptions about the weather in the copy, but I feel that the descriptions of the weather do not give people a scary atmosphere at all. Including ghosts not following the script, people being killed directly without warning, and it is completely impossible to see how people can resist and expand the plot (obtain death certificates) when faced with the script of certain death. The plot of survival does not reflect the personality and character arc of the supporting characters. The fourth script, now that I see it, it is completely eccentric. It revolves around the diary and the Gao family, including the first few scripts, and the number of NPCs is pitifully small. I feel that the purpose of the existence of shadow actors is to ruin the plot and delay the chance of being killed or escaping to heaven, while the existence of NPCs is to advance the plot. Now it is just a group of theater staff who are there to explore or chat to advance the plot. In this copy, Uncle Kuan is not in the house and can only call to ask questions. So the cost of trial and error is Where? Do you just rely on these five actors to talk or plot against each other to advance the plot? Shouldn't this kind of early-stage movie be made to make ghosts far larger than people, and it is not easy to live in it, and you have to kill me and I kill you, and it is still unknown whether you can survive. And going back to this script, where is the horror? For you in the past, creating an atmosphere of terror and despair was your strong point, but now you can't let people feel this at all? The protagonist is in danger at the beginning, and you are the protagonist and it is the beginning. What is so scary? The latter one is locked in a room, and Gao's father escapes through ng and is imprisoned without detailing. What is so scary about this? Now I would rather be a psychic by myself, and a few people talk to each other before entering the ending. If the climax part is not well written, won't this script fail again? After passing out, Ning Shi is a little weaker as a junior psychic medium every day, so in comparison, it is too easy for this psychic medium to be a medium. Going back to the script, everything is narrated by Weirou's diary, and then there is the actor's talk, so where is the exploration part of the actor? You can't just leave it to the end to explore, right? So the first supporting character died without a scary atmosphere, and two more supporting characters died in the back. , I don't know what kind of atmosphere it can create. Anyway, I feel that it will be difficult for you to handle this kind of situation in a very atmospheric way. Low-sequence movies should still focus on the escape of people under the oppression of ghosts. For example, adding abilities to ghosts, such as avatars, shielding perception, replacing memories, etc. You can think of this anyway. The abilities of ghosts should put the actors into trouble, but it doesn't feel like this at all now. It shouldn't be so quick, after all, the actors in my series have not made many movies to enhance feelings and relationships, and equip the protagonist with important companions (even a class reunion and different lineups are interspersed in the middle). I feel that the content of the script is not good enough in the first place, so don't add these things. It's a wonderful plot, but you still have to focus on writing the script well). At least let the minds and abilities of the protagonists of your theater grow and grow first. Contact with high-level sequences every day, so many intrigues, completely lost the original intention. What horror novels need is horror, not that some of these are not available.

1. The male protagonist doesn't have much characteristics and doesn't give people a strong sense of empathy. I can't even tell the specific character of the male protagonist after reading the two volumes. It's too facial. In any popular book, the male protagonist's personality characteristics are basically very clear. You need to think more about this aspect and give the male protagonist more impressive anchors. Also, what makes the male protagonist different from others is his understanding and expertise in horror movies. We must make more use of this! This is the most critical difference between the male protagonist and other characters, and it is also the male protagonist's golden finger. I remember that there was a paragraph in the first volume where the male protagonist judged where the ghost might appear based on the footage of the horror movie. The application of this kind of professional knowledge in real horror movies is an ability that only the male protagonist has. It is much more important than cursed objects and permissions. But in the second volume, I did not see Huo Da rewrite this part. This is a very important source of drama. We must dig deep. The male protagonist uses professional knowledge that no one else has to analyze horror movies to make judgments and actions. Doesn't this bring a sense of anticipation? This is what readers like to read. Cursed objects and permissions can only be used to enrich the plot. Others can also use them. The focus should be on the unique abilities of the male protagonist. 2. I have analyzed the underlying reason why many people feel that the second volume is confusing. That is because your length and number of people are not equal at all. Comparing the chapters of the old version of "New Neighbors" in the movie theater, why is the rhythm of "New Neighbors" more comfortable? To put it bluntly, it is because there are fewer people participating in "New Neighbors". It is consistent with a short story, and does not need to describe a lot of character relationships. If you want to describe complex interpersonal relationships, you must at least have a length like Return. Although there is a twist later in the second volume, the previous readers did not know that the dialogue experiences of various characters appear in turn, and the length itself is so short, there is naturally less part left to create a horror atmosphere. After that, you have to determine the number of characters according to the length of the story. If it is a short story, five or six people are about the same. If you want to write about the complex interpersonal relationships of multiple families like the second volume, you must at least have more than thirty chapters to write it. As for the cliché issues such as the abrupt setting of the first volume, I won't go into details. Let's find time to change it.

The setting of the trailer can be added again to make it more immersive. Now that I open a new dungeon, I don't even know what it is talking about at the beginning. It is not as memorable as before.

The latest chapter of Huoda introduces professions such as psychics and ghosts. This idea continues the relevant settings of the old cinema. Many old readers are also looking forward to this matter. Before the power of the old cinema expanded, the performance of these professions in the plot was very exciting and attractive. However, due to the popularity of this book, when it was first published, it was stated that the book would fully focus on the horror atmosphere and not on fantasy. Therefore, one must carefully plan the strength of the career aspect, and not be like the expansion of combat power after "The Nitler Family 3" in the old cinema. Once the combat power is not controlled well, it is easy for the plot to become a fantasy system, and it will return to the old path of the cinema. No No matter how many occupations there are (because "Abyss Studio" currently has 20 theaters, each theater has 9 theaters, so occupations can have many different designs), the upper limit must be suppressed within a reasonable range. It cannot be said that I can face ghosts directly without fear of life. The appropriate occupation intensity can better bring readers a horror plot experience. I hope Huoda will remember not to step on the same old path.

It can be regarded as a compensation for reading your books in my youth. I read your strange horror in junior high school. In high school, it was an apartment with half a movie theater behind it. At that time, there was no money or channels to support the original version. This time it is a good start for your new movie theater, which is so popular. I wish you a great success 😊😊😊

There is a good setting in the previous game, which is the law of diminishing curse. This makes the actor's ability to escape continue to decrease and weaken as the movie progresses to the end. In the final scene, you have to rely on luck or strength to escape. This makes the cursed object only allow you to make mistakes, or you can't use the cursed object to be attacked and killed by ghosts. In this way, there is always a risk of death and a sense of urgency. Unfortunately, in the end, the numerical expansion of people like Marquis An Yuexing or the top group of people have extremely strong numerical values ​​that can constantly fight against ghosts, which reduces the horror. For example, An Yuexing, who is essentially a demon, will not be afraid of ghosts. If he is killed by a ghost, the ghost will be too strong to defeat. The same is true in this game. There are various physical professions and the like that can always display their values. If the difference in authority and ability between each sequence is too big, it means that the difference in basic values between them is too big. High sequences carry various cursed objects and various permissions, and low sequences are natural dragons and cannon fodder who are sacrificed first. If a ghost appears, it will be a curse or ability to resist. If you die, your skills are not as good as others. Not enough. The way to survive is more like maximizing or finding ways to use numerical values to fight, rather than finding a way out in an apartment or fighting ghosts, where there is a risk of falling into a dead end at any time, or the actors in the previous game who did not have a cursed object or only had one tried their best to survive by adapting to circumstances. Nowadays, curse media are like wholesale, so the essence of hiding cursed objects with stronger values is the same. So I think Huoda needs to set limits in this direction, otherwise the ghosts will become numerical detectors. Those with the highest sequence will have horrible trump cards one by one. If the ghost is too scary, others will not be able to survive. If the ghost is too scary, the others will not be able to survive. Those who are weaker will not have the risk of death and no sense of terror. No matter how it looks like in an apartment, Both newcomers and old people have the potential to shine, and they all find a way out and find themselves in trouble. However, the gap between various permissions in this game is too big and too many. The use of permissions and spells is more like a solution to the ghost attack. If you do it right, you will survive, so the ghost attack actors have to deal with it in this way. The truth about the movie is given at the critical stage and then the values are used to drag it to the end. The core of what is said is a bit scattered and casual. The main purpose is to show that the restrictions are too few. Various permissions and wholesale spells greatly reflect the competition of values, resulting in a weak sense of terror and strengthening the sense of pvp with various people. It is a intrigue rather than a fight with ghosts. I hope Huoda will consider how to deal with numerical problems and enhance the sense of horror, reflecting the core advantages of horror. Readers are more attracted by the wonderful horror copies and the various whimsical ideas and wonderful survival games in them

At the beginning of the third volume, it seems that everyone's enthusiasm for reading is limited. I would like to ask everyone's opinions on the third volume so that I can make improvements accordingly. Everyone can speak freely without hesitation.

Every time I listen to advice, I say I have corrected it. The "Hell Cinema 2" that I have been looking forward to for so long has canceled the cursed object, and added my own little ingenuity that I feel very good about. Cursed object, an element that has been proven by the market, has been borrowed from several popular books. Is it because the cursed object element is not good, or is it because I am not strong enough to try it? It's said that cursed objects are difficult to balance, but you have the right to use them while lying on the bed, so it's balanced? There is no sense of oppression, and there is no need to worry about the resurgence of the curse. There are currently no side effects, and it can be used even before the ghost comes. I no longer have high hopes for the new book. Since the cursed objects have been cancelled, and the iconic elements of "Hell Cinema" are gone, why call it "Hell Cinema 2"?

1, Protagonist I think the description of the protagonist in the opening chapter is too ordinary, just like describing an ordinary supporting character without the personal characteristics of the protagonist. Such characteristics can be advantages such as simple decisiveness and bravery, or even disadvantages such as selfishness and isolation, but it cannot be a character without highlights. To be honest, I think the second volume only started to describe the protagonist a little bit. I think it would be much better to move the protagonist of the second volume to the beginning. 2, Plot I don't know if the author will regard the personal interpretation of the protagonist and supporting characters and the forced plot conflict in the theater as a core conflict selling point of the book, but even as written so far, I feel that the difference between the characters and the characters in the script is a bit blurred. Although the author sometimes mentions that the character's behavior and speech are not in the script, but it is just a brief moment. I often have to analyze the difference between the plot of the script and the interpretation of the character. Is it completely the same or is there a little extra attempt by the character to survive. I even think that even if the script's words are punctuated normally, the character interpretation will be marked much better. This will make the reader more immersive than the author's sudden mention. 3, Atmosphere A major selling point of horror novels is the despair of survival and the ubiquitous horror. This aspect relies on the environment, the interaction of characters, and the progression and reversal of the plot. However, the limitations and limitations of a movie script The non-NG setting weakens this aspect a lot. The former is just like when I watch a horror movie. I know it is a movie, so I have to be mentally prepared for it no matter how scary it is. The latter is like a puppet on a string. No matter how scary it is, it is hidden under the surface. Naturally, the readers feel it is much different. This is the setting of this book that cannot be changed, but can be broken through frequent accidents and emergencies. These accidents are not accidents required by the script, but accidents caused by various reactions that break through the script. To be honest, I only saw this sign after reading the third volume, but maybe it is because the third volume's script time is shorter and the plot is more compact.

I have already begun to cultivate immortality. A prop can directly pass the level, and a prop can directly kill passers-by. What else can't be done? The wonderful plots written in the past can no longer be seen by Mao. Just the inner monologue of the character that brings wisdom. What readers see is the suspense and horror, not his messy character confrontation. The background is doomed to basically despair for those who enter the theater. Every one of them has to watch. I'm struggling to survive. What's the result? I wrote all the illogical settings and props regardless of the plot of the movie. The characters died at will in the movie. In the past, there were life and death, and there was a basic plot direction. Now the plot is written like a smelly rag, and the protagonist is even more outrageous. He is an immortal cultivator at the beginning. A profession can instantly change the direction of the plot, and he can attack from a distance. , Can possess people, sense evil spirits, find evil spirits, and use evil spirits to directly kill teammates. To be honest, as I write this, I have seen all the professional melees. Now I feel that Tinder is really a thing of the past. Even if he focuses on the plot and has no props, telling a good story is better than writing this invincible flow. It is not good to write a high-quality book that focuses on plot and story. Well, you have to go to fantasy, can't you pack up your original intention and complete the suspense and thriller movie theater? Plot, plot, how important this is. A complete story you write is more exciting than anything else, but you have to show off the setting and show off the profession. Old readers come for your story, not to see you write about cultivating immortals. You said earlier that this book would be about cultivating immortals, at least the readers will be less disappointed

Based on my understanding of the author from Death Curse Island to Hell Apartment, to Examination... To the current work. He is trying hard to control his inner demons, but from this chapter onwards, it is obvious that he can no longer control it. The foreshadowing of internal factional struggles and fairy magic begins.