Shanhaimen People

The journey of self-breakthrough under Bing Linshen. Political assassins, the political space within ten steps and ten steps away, the rhetoric of politics (the science of name and reality), the reconstructed distinction between Huayi and Hua... These things are all groundbreaking ideas in Internet novels, but not for this book. Bing Linshenxia is seeking a breakthrough. He wants to add a new concept to "within ten steps and ten steps away". He wants to continue to enrich the relationship structure between individuals and the huge state machine. Xu Chu's travels are not aimless. His purpose seems to be to find a "true emperor" in the book. Outside the book, it is to further expand the political space revealed by the author in Ruzi Emperor. In addition to "within ten steps" and "ten steps beyond", there is also a third concept and a third space. The Wang Qi Zhi in The Child Emperor is an attempt to open up a third space, but this attempt did not bear fruit until the end of the story. I hope Xu Chu can complete this important task (although judging from recent plots, the possibility of his success is slim). Only under the premise of the successful development of the third space, the popular distinction between rivers, lakes and temples will be possible (that is to say, the dichotomy between rivers, lakes and temples, such as Jianghu and Jiangye, is simply false, and they cannot actually distinguish between rivers, lakes and temples). I wish the author a happy journey and everything he wishes.

An extremely remarkable attempt at fictional historical writing. In the entire historical section of Internet novels, there are many various textual criticism writers. I am sure of their achievements, just as I think the skills of the masters of Qianjia Puxue are unfathomable. But personally, I like Zhang Xuecheng better. Although most of his readings were "reckless" (Yu Jiaxi's words) and his various arguments were full of errors, his "General Meanings of Literature and History" has become a peak in ancient historical theory. Therefore, when reading Zhang's book, the material can be put aside for the time being, but the theoretical ideas cannot be ignored and must be played over and over again. I probably have the same attitude towards the books under Bing Lin Shen Xia. Judging from the materials, his grasp of ancient China is really unflattering (of course he himself emphasized that he does not engage in textual research). However, from the perspective of the layout and even the thinking, it can be said to be a breakthrough in the creation of Internet historical novels. He opened up a new space - within ten steps and ten steps away. This distinction is extremely important. It cleverly connects individuals with the huge state apparatus, and to a certain extent avoids the common problem of Internet novels, that is, the general trend of history is simply covered by the conflicts between the protagonists. To give a very famous example, "Swordsman in the Snow", the so-called distinction between temples, temples, rivers and lakes in the whole story is a failure (of course I do not deny that some plots are handled well). The relationship between individuals and the huge state apparatus is described in an extremely simple and crude manner, even so absurd that one cannot help but ask oneself, in this case, why do people come together to form a state? (Is it because the world is a national war server, so people have to participate in national wars on Wednesday nights or some other ridiculous reason?) The new space opened up by Binglin God obviously solved this problem more effectively. In this new space, the ancient palace, the emperor, the jade seal, the concubines, the eunuchs... Everyone gained life. Gaining life here definitely does not mean a cliché written in a lifelike way, but gaining a true social identity or even a true political identity. Compared with this kind of living character with a real political identity, those knights who say "sword comes" and other "bold words" are just self-deprecating paper figures at best. Aristotle said it well, man is a naturally political animal.

I am a member of the Shanhai Sect, and I have come here to lead you into the Tao, grant you immortality, and transform your dusty heart. This book is still a spiritual epic about the development of self-awareness. In the previous book "The Sword of the Sea of ​​Maggots and Corpses", the madness of almost all the gods was caused by the pollution of the reincarnation pool by Chi You. Only Taiyi was really crazy, which was a foreshadowing. There are two types of real madmen in the world described by the author. One is a madman who cannot stand the eternal division between the present, the past and the future and tries to use force to smooth the boundaries between humans and gods. The other is a madman who dares to endure the eternal division and raises the light of self-awareness to find a way forward, but does not reach the destination for a while. Both are really crazy, but the former has even turned into a beast in appearance, while the latter can maintain his human form most of the time. Obviously Taiyi is the latter. In "The Sword of the Sea of ​​Corpses", he seems to be a real madman just because he has not reached his destination for a while, or in other words, he has not set off on the road. In "Ten Thousand Ghosts and Ten Thousand Immortals", in a higher and broader world, Taiyi finally sets out on the road. He holds up the torch of self-awareness, endures the split between fate and ideals, and embarks on the road to self-healing. This book is by no means a simple repetition of the routines of the previous book. Goshawk only overcame self-splitting at the personal level, while Taiyi turned his attention to the system, order and rules external to the individual. What he really wants to overcome and heal is the split at the institutional level, the split between the rationally constructed system (life and death under the rational plan of the present) and the spontaneously generated system (all things arise and perish on their own). From the perspective of our readers, it is to overcome the split between the martial arts system (Shanhaimen) and the Xianxia system (Ten Thousand Ghosts and Ten Thousand Immortals). The development of self-awareness is not just a matter of imagination, it must be externalized in reality. In Goshawk, it is reflected in the perfection of life and the establishment of achievements; in Taiyi, it is reflected in the unity of planning and spontaneity, the advent of a rich secular society for mortals (Ming Dynasty). Goshawk still maintains an expanded self-awareness at the end, while Taiyi is ignorant at the end. This also reflects that the two books have different focuses. One focuses on individual freedom, and the other focuses on institutional (social) freedom. The development of self-awareness starts from denial (invincibility is actually the denial of the world), from destruction (presence), from self-deception (the protagonist forgets his identity), but it will eventually reconcile with the world. Our lives initially start with plans, just like Ling Zhe, planning to study, work, marry and have children, buy a house and a car. Sometimes the plan doesn't work, and we simply follow our temper, but it is easy to fall into indulgence. The same is true of our society. First, there was a planned economy, but then the plan failed. The market was liberalized and liberalized, which was very effective, but it also led to the corruption of customs and collective degeneration. In the end, Taiyi reconciled with the world and himself, and the three realms were in order. He escaped from society and became a boy. Together with Xuehan, he lived a secular and private life that is unknown to all of us. Ps: Taiyi is also called Taiyi, which is almost synonymous with Taiji. In the West, it is The Absolute, Absolute, Encyclopedia, God.

The soul travels across the sea and through the world of Yin and Yang, singing songs of joy and pleasure. Shelley wrote "Prometheus Unchained", and Marx also had a strong Prometheus complex. The salvation spirit of Prometheus has a long history in the myths of various countries. The two protagonists (gay friends?) Of this book are the embodiment of the spirit of Prometheus. They are completely different from the protagonists of the author's first two books. They are not gods, not the kind of creators who first lower themselves to the lowest point and then return to the highest point. They are not people walking on the inevitable path of destiny. They are the atoms in Epicurean physics. They are destined to undergo deflection movement, break the straight line woven by the goddess of fate, save self-consciousness from the creation myth, and obtain human freedom and liberation. Those characters that were written down in the previous two books will also be saved. Those characters that should be written to death but not written to death, those that should be brought to life but not brought to life, those that should be darkened but not darkened, and those that should be whitewashed but not whitewashed will be reconstructed in the deflection movement of Xing Ru and Shen Zhe, and finally usher in their liberation.

Readers stand behind the yellow line of safety because the protagonist knows no fear.

This book is a magnifying glass book. The coffin was magnified thousands of times, like a mountain, and the people were also magnified, as if they were gods. In a modern society where everything has lost its true mystery, is universal and flat, the author carefully searches for the wrinkles of society and shows them to readers with a magnifying glass-like technique. Behind the huge coffin in the book, someone may be trying to summon another kind of coffin: one from real antiquity.