Shennong Baicaolu

Under the food and grass, hey, drive high and go low, this is probably the fate of Xihuan (Currently, it is suspected that there is a tendency to discontinue updates. If the book cannot be completed, the score will be lowered by two levels) After thinking about it for a long time, I couldn't write a single word. I can only say that I regret it. I will read it when my book reaches 2 million words in the future. For specific questions, just check the book friends circle. Other book friends have written

Under the food and grass, the plot is compact but has a lot of hidden dangers (Currently discontinued, suspected to be a eunuch. It may be due to the author's family reasons, so the recommendation is withdrawn) In fact, the first chapter almost scared me away when a bunch of weapon and equipment names were mentioned like a menu. I thought it was some kind of military house version of childhood. However, although the names such as "Mechanicum" always seemed a bit dramatic, and the settings were a bit rough, the author actually constructed a relatively self-consistent and authentic post-apocalyptic world view, and made the battles enjoyable on this basis. At this point, it has reached the standard of food. However, as usual, let's talk about the problems and poisonous points (if any) first: I usually use relaxation and relaxation to evaluate a good narrative rhythm, but the rhythm of this book is a bit too tight. From the first chapter, the protagonist is fighting almost the whole time. In fact, the narrative of thermal weapon combat has always been a big difficulty, because the single issue of the combat process can easily lead to aesthetic fatigue, and the attack methods are nuclear bombs as soon as they are introduced, and there may not be much room for upgrade in terms of methods. A two- to three-hour action movie is intensive. The gun scene may only be three or four paragraphs, not to mention a serial novel with millions of words. Therefore, it is generally not recommended to have too many and too dense battles in ultra-long modern/near-future military novels like this. The life of the battle is over, and the life of a book is almost over. In fact, I have been wondering when to start farming until halfway through the game. As a result, every time I finish playing the main character group, I rush to the next location non-stop. Even if I have a base, I can only look forward to the follow-up development. In terms of possible poison points, the most obvious one is that the protagonist likes to use torture a little too much, and is a little indiscriminate. The enemy is punished and the neutral party is also punished. Although the Internet literary circle has always praised this kind of behavior as "decision in killing", one thing that is controversial means that you at least cannot I categorically say that he is right. Fortunately, the author did not explain the ethics of the weak and the strong in an expressive manner after doing bad things in some online articles. Instead, he just brushed it off without describing the psychology of the characters, which barely left room for making amends with extraordinary means in extraordinary times. In addition, although the protagonist group relies on the red stream at the party branch level, according to some descriptions in the book, the book is obviously still on the right side of the political spectrum. This is a common phenomenon in online articles, and it is not a poisonous point. However, I still want to remind readers not to have excessive expectations.

Liangcao (if it can be completed), a solid and perfect slow-burn work, but not very good-looking. The Law of Steel and Fire can be regarded as a cliché in Western Fantasy. Its popularity in all aspects - including of course its breathtaking drag force - makes it an unavoidable work when mentioning Western Fantasy. However, Steel Fire Law is obviously not a popular work like "The Dragon Hangs Out" that attracts many people to imitate. This is related to the gradual decline of the Western Fantasy genre, but it is also more related to the writing style of this book. From a more pessimistic perspective: If it weren't for the lack of reading, I might not be interested in reading this book. The reading experience is more like a documentary than a traditional drama/novel. It is detailed and rigorous, but it is not very good to read, or it is not very convenient or interesting to read. It's very difficult. I personally like the in-depth construction of the setting of the spell caster in this article and the gradual exploration and understanding process of everyone (including the protagonist). However, it is undeniable that not everyone is looking forward to such a reading experience, so all book friends are advised to take precautions before reading. When I first read this book, I have to say that the initial experience was very uncomfortable. From a broader standard, this book is also a typical literary youth disease. A lot of content has a very heavy preaching meaning. Often, within two pages, a sentence "It is different from what the public thinks. In fact, xxx belongs to xxx" or similar rhetoric. This kind of narrative has little effect on advancing the plot. It can be said that it is only used for the self-satisfaction of the author's desire to popularize science (or, to put it more unpleasantly, it means that he is addicted to politics), and the plot in the early stages of the entire book is very difficult. It can be called wonderful, after all, it is too slow to develop, and there is nothing remarkable from the perspective of plot design, so it has become one of the few novels that I jumped to read. Fortunately, the world view created by this article is self-consistent and rigorous, and the author's solid narration can be used in On the basis of "telling a story well", the story is written in an interesting enough way that at least it can hold the passing line on a literary level, and personally I don't think it has any major drawbacks. If you can finish reading a lot of the setting and world view in the early stage, it will still be a worthwhile read. As for the later problems, in fact, from the very beginning of the setting of the spellcaster, we can see the author's ambition to discuss some larger issues. However, like many other novels, the author wants to talk about more and more things as the world view advances. It is like opening countless threads, but losing the ability to twist these threads into a rope again, so he can only write more and more scattered, which also leads to many story lines that may end without a problem. But is it really to the point where it can't be recovered? Actually, no, I feel that it is within the ability of a great author to take it back, but I am pessimistic about whether the chair cushion can hold back the ending. Having said that, I didn't read the rest of the content, so I can't give a more objective conclusion. I can only say that people have different opinions (but it's best to wait until the update is finished before reading!)

Under the grain and grass, the mountain is nine feet short of success. Personally, I think it is a pity. It is only one step away from being a good book, but it is just beyond its capabilities. I thought it was not inferior in the historical area before, but now I see it is a bit too tired. The protagonist has not changed the course of history after millions of words, and even often stands on the side of the loser (in history), and then fails. The author is good at creating dramatic conflicts, but behind such conflicts is his increasingly empty purpose, which is really difficult to continue. First of all, this book is probably not very attractive to readers of traditional online articles. This is not to belittle the author's literary skills. From the perspective of plot design, this article does not matter whether the plot is good or not, but at least it does not have too much water. During the reading process, if the reader can escape from the text from the perspective of the playwright, he can feel the complete and in-depth growth process laid out by the author for the protagonist, instead of being filled with the same content as traditional online articles. There are a large number of "side tasks" that are useless for promoting the plot/character development. However, readers are naturally not obliged to think from this standpoint - this is what critics should do. Besides the script design, the actual reading experience of this book is very average. Although the plot completes basic logical self-consistency, it fails to maintain a coherent emotional experience, resulting in quite a few counter-intuitive parts. Points - for example, some of them fall into a strange kind of handling when they should explode. The causes of this problem are very complicated: some are due to improper allocation of space, some are excessive use of side descriptions, some are interrupted at intense emotional points, and some are due to unclear words. Many book friends probably failed to understand what the author wanted to express, or maybe the author really did He is good at narration but not good at describing explosions. In short, the reading experience that the author wants to create is obviously different from the actual experience. This makes this book very picky for readers. Some plots are described in this chapter and the "standard answers" in the book circle (some book friends do write more clearly) are acceptable, but this is not a long-term solution after all. Besides, how can browsing the comment area be considered a coherent reading experience? In addition, even for readers of historical areas, who are probably the most literate readers of online literature, this book is a bit too literate. Literary youth disease may be reflected in dropping a book bag, or it may be evidence of forensics, and this book shows that I especially like to write transitional chapters (or transitional plots). To write a transitional chapter well does require very high literary standards, but no matter how well the transitional chapter is written, it must connect the previous and the following and set off each other. The proportion of transitional chapters in this book cannot be too high, but so far they are all transitional chapters, which is roughly equivalent to Xiao Xiao Part of the story about Hedong in the Thirty Years of Yan is a big book, but the part in Hexi in the Thirty Years has not yet arrived. The protagonist's process of being frustrated again and again and regaining confidence is certainly true and can be learned, but is the protagonist's growth here really worthy of the more than one million words? I'm afraid it's still too limited, at least it can't afford to be exciting. Having said that, the mountain of nine ren is still nine ren. Even if the success falls short, all authors who want to write good books still deserve respect, and the literary efforts made so far in this book are still worthy of evaluation. I still hope that the author can write this paragraph well. There are many regrets, but there are also many heroes at the turn of the two Jin Dynasties.

Grain and grass are now the only seedlings competing for hegemony. There was a time when Zhenghege was the only one in the field, but it was said that it had become less popular in recent years. Unexpectedly, Liuliu, an old man with a lot of misdeeds, became an orphan in the end. However, this book is indeed an improvement compared to the author's previous works, and it is not unfinished, which is considered a major step forward. As a semi-historical hegemony text, the world view of this book basically follows the Eastern Front of World War II, with a slight enhancement of Germany and even magic, but it basically does not affect the overall battle situation. It is quite interesting to see the author checking historical information while writing a book, and the protagonist has a golden hand. It's not too much to say. When I first read this description, I thought it was going to be like some books (long criticized) Assassin's Creed-style decapitation tactics. After all, this ability is suitable for small-scale special operations. I didn't expect that the protagonist's usage is to open up the field of view and explode with cannons. It is also a relatively novel idea, and the hook actually becomes less conspicuous as you go to the end. It mainly relies on the protagonist's past life military experience and historical knowledge to make judgments that transcend the times. The protagonist also becomes more and more integrated into the identity of this world as he sees and thinks. All this reading experience is coherent and powerful, especially the Patriotic War, which is a carrier that we naturally resonate with. As a history lover, it makes up for the regret caused by a series of missed opportunities due to various reasons from the siege of Kiev to the defense of Moscow. Of course, even if we put aside problems such as the description of the two-dimensional heroines (especially the princess), there are some shortcomings in this book that cannot be avoided. The first is the issue of character creation. It does not mean that the writing is not good, but the small characters are obviously written more vividly than the generals. This may be due to the plot needs of the online novel, which has led to these generals being portrayed as very stereotypical good/villains. On the other hand, the book basically abandons even a slightly complex politics. / Ideological contradiction, so these villains and even decent officials generally have little depth to dig into. In short, there is no political struggle, so there is no appeal (or more rigorously, no fierce appeal). The direct consequence of this flat personality is that although the battlefield atmosphere is more than enough for Xiaobai's novel, it is definitely not enough for a more serious historical novel. The scenes of seizing power in the middle look very dramatic. I believe many book friends feel the same. Including some outrageous combat examples created by the protagonist's tendency to only focus on equipment in the later period. It's refreshing, but it can't be thought about. Another small complaint of mine, which is a matter of opinion, is that after the Battle of Moscow, there is actually no suspense in this article. Everyone knows that Operation Blue will not succeed, and will definitely be punched through by Bagration. This is mainly because although this article is in another world, in the final analysis, it still advances according to the original world line, which can also be said to be a big one. Morality is not strong enough, and there is no decisive qualitative change. Generally, historical texts should be cheated by the other party at this time. Unfortunately - this article seems to be similar, but this trick comes too late, and there is no suspense. Even if the Berlin E-100 fights against the Jarhead as predicted by book friends, it will be difficult to change the building. It depends on how Liuliu is written.

Under the Immortal Grass*, the writing is too tough. It is the first time I have seen someone write a book with reference notes. (*: The author has not updated in more than 20 days, and there is no notice. He is suspected to be a eunuch. If he is really a eunuch, he will lower it by two levels) Seeing all the flowers in Chang'an in one day is the best evaluation for this book. In the history of online literature, there are always some works that stand out, making all novels on the same subject pale in comparison and making them unworthy of reading. For online literature in historical areas, "Wanli Mingjun" is undoubtedly one of the novels most worthy of this title in recent years. However, the author is still immature in writing, and the handling of some plots, especially the handling of major events, is a bit underdeveloped, and the arrangement of some plots seems a bit repetitive when looking at the later chapters. Using a purely political animal as the protagonist is destined to lack depth due to alienation, and some political content and jokes interspersed by the author also weaken the overall seriousness of the article to a certain extent. After all, this is still an online article, so the upper limit of the book may not reach the threshold of serious historical literature, which is a pity.

Grain and grass, open slightly higher and move lower, not finished yet Probably the best Warhammer 40k fanfic on the website. The author is good at depicting opera-like scenes with broad strokes. He is naturally suitable for writing these gorgeous and grand stories in the 30k era. However, after reaching 40k, it feels like the author is becoming more and more... Stream of consciousness? In short, readability has indeed declined. There is another shortcoming of this work, that is, the author tends to write almost all same-sex relationships as slightly rotten happy enemies. It is also somewhat homogeneous later on, and weakens the sense of heroism of the Emperor and Malcador in particular. I personally think it is a failure.

Under the grain and grass, there are too many references, and the book reviews are deleted, so we can only go to the next level. A dessert-level light novel that tells the story of the game's main character entering the game world to create card battles. The character of the protagonist is a good man who has no principles but is willing to realize the morality of the common people. He can even be said to be a Nietzsche-style superman, because he really loves everything. This character is even higher than his status as a time traveler. In some places, it is really touching, but in other places, it also feels a bit useless, especially because the author arranged for a lot of people to keep talking about the protagonist's birth. This kind of meaningless echo seems to be a bit too much. Originally, I wanted to give it to fairy grass at first, but now it seems that it is impossible to achieve it. Although it was fun to read in the early stage, it was watery and the single chapter was short, and the subsequent copies copied too many things, including Green Book, Gatsby, Darkest Hour, Carnival of the Moon, Vanitas Notes, etc. The plot lines were basically copied, and the suspense was getting less and less. It was really overwhelming, relying on the emotional drama to hang on, but the problem is the story of these three female protagonists Basically, one person starts a chapter, and then leaves it alone when the favor bar is almost full. The intersection between them cannot be said to be non-existent, but it is also pitiful. For example, the heroine Thalia was not even online in the first half of the chapter. She was also shaped in the later period by leaving the other two behind to get a chance to be alone. Therefore, some book friends think that the author maliciously holds a controlling stake, a black banker, etc. Why is there a party dispute in the Crystal Palace novel? In the final analysis, the author is obviously biased in the arrangement of the scenes. This kind of deliberate plot design is not a failure, but it is definitely different from being exciting. In fact, the anti-upgrade flow idea of purely relying on hard mechanics and counter-routines to take level-level challenges was quite satisfying at the beginning, such as debuffs caused by wrong treatments, real damage caused by mental attacks, etc. However, this idea was abandoned later for some reason, and instead the lower-level trick of pretending to be powerful was adopted. It was used more than once, which made me a little tired. In fact, the protagonist himself became less and less aggressive as he leveled up, or used small nuclear explosions like the Buddha's Angry Lotus. It can be said that the combat narrative has always been. It's going downhill. There must be a problem with the author's lack of creativity in this regard. This can be seen from the continuous copying of plot settings from other works (not to mention the content copied from the author's previous book). These stitches are very stiff and are basically copied along with the world view, so you can see yachts, cars (The Great Gatsby) and airships (Notes of Vanitas) that have only been shown once in the magical world. How can I put it, I hope the author will polish it more in the next book.

Under the food and grass, the writing is good but too poisonous First of all, let me make it clear that after reading hundreds of chapters, I was so excited that I ordered the whole book. However, the more I read, the more I felt it became more and more uncomfortable. Until the scene of assassinating Brother Meng, I finally couldn't stand it anymore. As a masterpiece of historical literature, this book has excellent writing and strategies, and can definitely be rated as a fairy grass. However, the protagonist himself is really outrageous, so outrageous that even his status as a time traveler cannot explain the aura of destiny in him as a macho man from the sky. Even though the author did not arrange any golden fingers, the protagonist himself can already be used as a messenger. Therefore, although the power struggle part of this book is more exciting, basically defeating the imperial court through outright conspiracy, the leading part of the war basically relies on the protagonist to take the lead in beheading tactics, which is used from the beginning to the end. Although the enemies are getting stronger and stronger in the middle hundreds of chapters, it is just that the protagonist's Assassin's Creed methods are getting more and more outrageous. At the beginning, the assassination is still outrageous like ziplining. Later, Miao witchcraft and a magnifying glass focusing on the sun's rays as time-delay fuses are introduced. Those who don't know it think they are watching Detective Conan and explaining the killing techniques to everyone. It is better to directly cheat the protagonist and kill the general and capture the flag, so as not to lose his heroic spirit. What's even worse is that later on the protagonist can actually make the Mongols switch sides, regain the Mongols and fight against the Mongols, so that in the end there are more Mongols than Han people. I feel that this re-creation of China is getting a bit biased.

Food and grass, but open slightly higher and move lower, not finished yet It is a masterpiece of the mystery genre. The author's writing style is elegant and smooth. There are many scene narratives and visual descriptions, and he is also good at using foreshadowing and suspense. The reading experience of the first volume is particularly exciting, but the second and third volumes are a bit unreadable. First, the routines are a bit repetitive. This does not mean that the author's story structure is not good. On the contrary, the structure of the play is very strict. They are all the three-act format that everyone is most familiar with: the appearance of the villain in the protagonist's daily life, the first confrontation where the desire to thrive is suppressed, the crisis in the tower, and the final victory. The problem is that this set of procedures is a bit too standard. Every volume is the same, so it is a bit boring. The common solution is: Embed a main line, that is, the secondary structure of these three-act small units, and even if it is not good, change the scenes and maps, which is a bit new, but this book does neither - the main line is vague, the scenes go round and round and are still centered on the capital, but the author's response is to add more short unit plays in the following volumes, which only makes the reading experience more stumbling and the main line further blurred Second, the upgrade system was a bit broken from the beginning, and it became more obvious later on. Almost all the small climaxes involve the protagonist exploding (Burning God) to solve a seemingly unsolvable crisis. This is a deus ex machina-style idea. It is precisely because Burning God is nearly omnipotent that the book has changed from an upgrade flow to an invincible flow. However, the narrative method has not changed. Borrowing from the feedback of some other readers in this chapter: the protagonist forcibly participated in some major events when his abilities were still shallow, resulting in upgrades, that is, the improvement of the ring level, which seemed useless. This exactly reflects the emptiness at the core of the upgrade flow narrative-that is, what is the purpose of upgrades? The realization of the prophecy of the Whispering Psalm and the road to becoming a god are all empty and empty, as a MacGuffin - in fact, this is indeed the arrangement. The entire plot lacks real crisis and other motivations as the substantive driving force of the plot. Third, the author's handling of emotional scenes is obviously hasty. What I cannot accept the most is the protagonist's first attack at the end of the second volume. This plot destroyed the character foundation of the fortune teller and flattened other female characters. Many emotional dramas are usually most exciting and touching during the ambiguous stage, but become boring once the relationship is confirmed. This book has a similar problem. It's a bit hasty to confirm the relationship and use it as a breaking point. A certain ring next door has been used as a negative teaching material. In addition, this is a Crystal Palace novel. There are too many female characters in Crystal Palace, but they are basically one-liners about the protagonist. There is no interaction with plot tension. As a result, these female characters can only be related to each other by their relationship with the protagonist. The degree of density was used as a difference. After this time on base, it was divided into an embarrassing gap of on base/not on base. Then, as expected, the female characters who are key to the protagonist basically came on base one by one. As a result, the emotional relationship lost its hazy veil and became a vulgar tool, becoming a poisonous point.

Liangcao, open slightly higher and move lower, but you can fully understand the book. The post-apocalyptic world view of the fourth disaster + radiation background is very interesting in the step-by-step development and player interaction. The holes dug have basically been filled, except for writing about Borneo, which is a bit unrestrained. Alluding to reality is easy to cause identity dislocation, not to mention that there are more than one target of allusion. In the end, I can't understand what the author wants to express. Why are you still practicing nationalism when the world is unified? The ending is just to let it go and not deal with it. It seems a bit ironic compared to the people next door who are Xin Naguo and Jingluo elements who have been properly arranged. Also, the female characters are all a bit stereotyped, especially the Knights of the White Bear, which are a bit over-the-top and just plain embarrassing. The part about going back in time in the later period is well written and has a TENET feel to it, but this unit is a bit abrupt in the whole novel.

Xiancao has an ancient style, and the reading experience is great. There is no water left in the number of words. The Republic of China style (?) Superpowers, the setting is innovative, the concept is deep, the writing style is refined without leaving the book bag, and the updates are diligent. It is pure and pure fairy grass. I have to say that the shortcoming is that the battle of wits is a little bit playful, but the style of this work is not serious either. As an aside, I followed the author's other books and found that they were not very good. This book can be regarded as a blockbuster work by the author.

In terms of content, the concept and early and middle rhythm beat most of the mainstream works of the same kind, and the ending is barely contained, but the shortcomings are equally obvious, and it affects a large part of the reading experience, making it difficult to read later. First of all, there is a bit of water in the later stage. Around Chapter 900, that is, after the entire territory of Ansu was recovered, apart from two minor battles with gods, it was almost all about long stretches of chatting, meetings, and dialogues. Sometimes a whole chapter was spent chatting. A large amount of the plot was driven by chatting, and the suspenseful worldview was also directly thrown out mechanically through conversations with the gods. It's not that there aren't any in the early stages of chatting, but there are too many in the later stages. The setting is very stiff and boring, not to mention that some of the known information is mentioned repeatedly. Since the theme of this work is to solve the mystery of the world, the later deus ex machina basically abandoned this theme. Fortunately, the world view is large enough, even if the final decryption speed is as fast as that of a rocket, it can barely be considered. Of course, the development of part of the story is probably at the cost. And then there's Typhon, who is arguably the biggest structural flaw of the entire novel. It can be seen that the story has been changed. Many of the foreshadowings about Typhon were held up high and then gently put down (or simply disappeared). In the later period, in order to force Typhon and Cecil to force a 50-50 split, Cecil suffered countless defeats through reverse cheating. Especially later, Typhon tried his best to seize several small islands and used righteousness as an excuse for Cecil to restrain himself. It has a kind of absurd humor that is like a barbarian in me. While his status has changed, Typhon's image has not changed. Aldernan is still the "fog city", and the parliament of the conservative nobles has been cleaned up. Unfortunately, it was still a wave of the emperor's hand, and the competition between Typhon and Cecil failed to form any dramatic interaction with Cecil. However, Cecil's unilateral technological charity has made Typhon the spokesperson for backward productivity/production methods. However, Cecil no longer carries the banner of liberating productivity as he did with the Anzu nobles - this can be patched in the future, but in the end it is against his original intention. Finally, many people say that the characters are flat. In fact, this evaluation is not accurate. There are many supporting characters with depth in the work, but the protagonist and the protagonist group are much inferior in comparison, and the character arc is generally lacking. Gawain becomes more and more flat as the plot progresses, but this is actually a common problem in many novels. The protagonist's image tends to be sanctified along the adventure, while the saint should have a vague face. Amber, Rebecca, Betty, etc. Are used as gags and jokes. They have a lot of scenes, but their simple characters are not interesting enough, while Hetty and others are just tool characters who lack description. It can be said that Big Eyeball may not be very good at writing a long-term character with a sense of existence, but when giving a noble curtain call, the personalities of characters such as Belk Laurent, Naratir, and Norris can be revealed through just a few sentences, and shine brightly with humanity, so that the subsequent plot of making dumplings seems a bit redundant, but having said that, making dumplings is absolutely good, and everyone likes it.

Food and grass, the orthodox web article of Daqiaowugong Amber Stream + The Fourth Natural Disaster, the reading experience is smooth and coherent, but it failed to further explore the new ideas of these two genres. It has its advantages and disadvantages. For example, the players in the later stage cannot play a role. It can only be said to be a well-written novel. The ending is super awesome and there is no suspense, but it can be regarded as contained. However, the player competitions in the middle are awkward and boring.

Under the Grain and Grass, Explosion is wonderfully written, but I drank too much water, so I haven't finished reading it. Yan Nan is another masterpiece, the writing is guaranteed, but the plot can only be described as incomprehensible. Most of the content is cliche and watery, and the setting is not rigorous. Although those few chapters vividly describe the fatalistic aesthetics that Yan Nan is good at, which is very enjoyable, but in the end it was drowned by too much watery, boring and nonsensical content.

Under the grain and grass, but cut in half The name is inconspicuous, but it is indeed a good Western fantasy book with a rigorous setting, innovative ideas, and good writing. Unfortunately, the author mechanically seduced a super villain and cut it in half in two chapters, so it is just food.