Oneness

Seeing that many people are talking about water (referring to online content), I, a lurker, would like to say a few words. After Guiyi was trapped on Xinyue Island and returned to the Central Plains, the story enters a new phase. I think these chapters are the most engaging, informative, and thought-provoking. Especially the chapters on "Reporting to the Emperor" and "The Way of the Ruler," which, although novels, feel like reading classical texts. Perhaps due to my age, I no longer enjoy reading superficial, feel-good stories. As a reader in my forties, I prefer deeper, more profound experiences—the kind of experiences that come from decades of work and life, from the mundane to the dramatic, from the dark to the bright. I no longer crave the so-called climaxes of pretentious posturing and fighting. Meticulousness, patience, and thoughtfulness are what I enjoy or am accustomed to at my age. Reading is also a form of emotional release, and I prefer to release it slowly, patiently exploring and carefully observing through Jiu Qiu's words, comprehending the profound meaning he brings us in a steady rhythm. These past few chapters, which describe how the monarch governs, reached a high point of enjoyment when discussing the implementation of coinage and the revitalization of trade. There was no flashy kung fu, no war or fighting, but it touched upon something most important to an adult—my country. Jiuqiu's understanding of traditional Chinese culture is undoubtedly very profound. His understanding of the Way of Heaven and his application of the art of emperors in the book have reached the level of the formless Great Way. The establishment of a coinage system and a trade system constituted a perfect governance system, which is discussed in detail in the "Yu Gong" chapter of the Book of Documents. I was fortunate enough to read these contents in a novel I enjoy, using literature to convey profound truths and the political methods of the novel's protagonist to embody the establishment of an ideal state. Serving under Wu Zhongyuan was a blessing, for they had encountered a good ruler—one who was insightful, visionary, responsible, and capable, who neither mistreated others nor wronged himself. As long as they worked hard and did their jobs well, they could live happily in the Central Plains. Even if they died on the battlefield, they would have no worries, for they fully trusted that their ruler would provide generous compensation to their families. Young readers, please be patient while reading. Opening the app, reading the latest update, and then casually telling the author "it's too weak" is irresponsible towards your own judgment. It's also disrespectful to Jiuqiu, who writes with such care. Don't comment "sycophant" every time a reader praises Jiuqiu; I'd think your vocabulary is very limited. Please believe in yourselves. We follow the updates every day because Jiuqiu is worth it.

There are times when many people express dissatisfaction with Wu Zhongyuan, saying he's indecisive, petty, fussy, nitpicky, and lacks a manly spirit—character traits that are unlikable. Some readers may understand, but many others are annoyed by Wu Zhongyuan's behavior and even roll their eyes. The reason for these worrying situations is that Wu Zhongyuan is too eager to preserve his forces. From his initial return to ancient times to taking control of the Bear Clan, to unifying the three clans, and then to fighting against the Five Paths, he has always been unwilling to make unnecessary sacrifices. He tries his best not to kill those he can avoid. The compromise and game between the ruler and his subjects has exhausted his mind. Compared to my favorite character, Wu Dongfang, Wu Zhongyuan is more cautious, more calculating, and more mindful of his feelings and commitments. It's not that Wu Dongfang disregarded feelings and promises. This handsome warmonger, not being the emperor, was more like a high-ranking general in his role as the Guardian Sorcerer, operating under a separate government from Si Shaokang's. Unlike Wu Zhongyuan, Wu Dongfang didn't need to worry about so many things, so after a series of ruthless maneuvers, the Jin tribe was reduced to only two sorcerers. Wu Dongfang was inwardly weeping. Wu Zhongyuan did not do that. Although he had two great advisors, Wu Di and the old blind man, he himself was more like a combination of Wu Dongfang and the prince, both brave and thoughtful. Being an emperor is not easy, and writing about the Yellow Emperor is not easy either. Brother Jiu has put in a lot of effort to create such a humane Yellow Emperor for us. A woman who weighs the pros and cons to preserve her strength is labeled as indecisive and fussy. A woman who protects the enemy to keep her promise is said to be reckless. A woman who hesitates to act to protect several empresses is said by her beloved empress to have poor mental fortitude. It's safe to say that being an emperor is incredibly difficult. There's a huge difference between governing a country and governing a province, a village, or an army. Readers who can understand this demonstrate mature dialectical thinking. This is probably the deeper meaning behind Ninth Brother's creation of the character Wu Zhongyuan. He spent less than four years in ancient times. In his own words, "If I were in modern times, I would have just graduated from university!" Men of that age in modern times are just entering society, but Wu Zhongyuan was forced by his environment to grow rapidly. He had to manage people's livelihood and security internally, and seek survival through war externally. In Wang Xinran's words, "You are the one, and we are all the zeros after you. You must take good care of yourself. If you are finished, we are all finished." Under these circumstances, how could Wu Zhongyuan possibly act rashly? His caution and careful consideration were all for the sake of everyone. His sense of responsibility made him seem less carefree and impulsive; perhaps only older readers can truly understand this. What makes Wu Zhongyuan so captivating is his complete humanity. Nanfeng is not human but a god. Lao Yu and Mo Wen also have divinity. Lao Zuo has a strong humanity. He will fight if he is not convinced. He is indifferent to life and death for the sake of his lover. Wu Dongfang and Wu Zhongyuan have similarities, but Wu Zhongyuan has a larger framework in his mind and considers more things, so he is not as popular as Wu Dongfang, possibly due to the different sense of human burden. When the burden is too heavy, human nature instinctively chooses to escape or opt for a relatively easier solution. Wu Zhongyuan, however, shouldered the heavy responsibility of a nation with his still-developing youthful shoulders, and the pace of development far outpaced his mental maturity. He was constantly busy and on the go, "forgetting what life was really like." The book mentions more than once that after Wu Zhongyuan's cultivation level improved significantly, he worried that the gap between him and those around him would widen. After Jiang Nan disappeared, he was anxious and trembling all day. After Wu Di was humiliated, he killed all the aquatic creatures that saw Wu Di. He also told Wang Xinran, "If anything happens to you, I will go crazy." There are many other scenes that depict Wu Zhongyuan taking revenge when he is angry, rewarding others when he is happy, comforting others when he is worried, doubting himself when he kills too many people, and collecting animal carcasses to feed his people. He also collects old clothes from Dai Niang when his people are short of clothes. There are so many details like this. He's not perfect; he has many flaws, but he's extremely real. He possesses the cultivation of a Golden Immortal, yet he's a straight man who dedicates himself entirely to humanity. Some might say, "After a long day at work, all I want is a relaxing novel to unwind." But Wu Zhongyuan is a very indecisive and long-winded person. But Ninth Brother wouldn't let us relax. He doesn't indulge himself or others; he wants to show the real process of a person's growth. Heavy burdens, great pressure, struggles, and failures. He wanted everyone to understand that comfort obtained easily is just comfort, but life is about overcoming numerous uncomfortable obstacles to achieve the life and goals you want. In fact, there are a few moments when the straight man Wu Zhongyuan is very touching. When he is concentrating on sharpening his bow and arrow in the secret chamber of Tianchi, when he tells Wang Xinran that they will go back to the modern world together after they are gone, when he is trapped on Xinyue Island for half a year, tempering his spiritual body with the true energy of the fire dragon, and shouting "I won't die" while burning himself, were you melted by his adorable focus and iron will? He is indeed a real man.

This book needs a lot of extras; to give back to our long-time readers, let's build a "Extras' Building".

In the early stages of human history, various brilliant civilizations existed: ancient Egyptian, Mesopotamian, Indian, Greek, Native American, and Chinese civilizations. Except for Chinese civilization, the others have disappeared. The reasons for the disappearance of Native American civilizations are still debated, but the disappearance of the other four civilizations was due to defeats in wars, with new types of civilizations replacing the original ones. It can be said that, outside of China, the birth of a new type of civilization came at the cost of the demise or disappearance of the original civilization. There is one very special exception among them: Chinese civilization. Chinese civilization has continued for thousands of years without interruption or extinction. Although it suffered defeats in its confrontation with nomadic civilizations of the grasslands, Chinese civilization still survived tenaciously. Some nomadic civilizations that entered the Central Plains even actively integrated into Chinese civilization, a representative example being the reforms of Emperor Xiaowen of Northern Wei, Tuoba Hong. Why does Chinese civilization possess such tenacious vitality? This is a question worthy of deep reflection. Personally, I believe the answer lies in understanding the historical context of its emergence and development. We all know that the carrier of Chinese civilization is the Huaxia people, a tribe formed by the fusion of the Yanhuang and Chiyou tribes. Undeniably, this fusion was accompanied by war. However, the Huangdi tribe, as the ultimate victor, did not destroy the civilizations of the other two tribes. Instead, it convened all tribes at a meeting near Zhuozhou at Fushan, electing the Huangdi as their supreme leader. Simultaneously, they created the "dragon totem," incorporating distinctive elements from the totems of each tribe. In short, the emergence of Chinese civilization was a product of "peace" and "integration." The formation of Chinese civilization perfectly embodies the principles of "valuing harmony and moderation, being understanding and tolerant, possessing great virtue and carrying the world together, and embracing diversity," which are invaluable assets of Chinese culture. In its subsequent development, Chinese civilization did not reject the entry of foreign civilizations. A prime example is the development and localization of Buddhism in China. We Chinese accepted Buddhism and carried it forward. While Buddhism declined in its birthplace, it flourished in China, the Korean Peninsula, and Japan. Chinese civilization also did not refuse to help other ethnic groups. Our Silk Road not only exported material wealth, allowing other ethnic groups to share in our development achievements, but also contributed our "Four Great Inventions" to the world, promoting the progress of human civilization. It can be said that "harmony" and "unity" are the fundamental principles behind the formation, development, and continuous progress of Chinese civilization. One of the ancestors of the Chinese people, Fuxi, created the "Tai Chi diagram," which represents "the balance of Yin and Yang, the cause and effect of karma," and, in my personal opinion, also "integration and peace." In today's complex and chaotic world, with constant clashes between various civilizations, it is hoped that the development of Chinese civilization can provide the world with an inspiration: that different forms of civilization can coexist peacefully, which is necessary for solving the common problem of human destiny.

The term "lickspittle" has frequently appeared in book review sections, referring to readers who always speak well of the author. This term is both offensive and childish. It's also commonly seen elsewhere online, used to describe someone who constantly fawns over their girlfriend, someone who flatters their boss, or someone who speaks sweet words. I really don't understand. How does expressing affection for your girlfriend make you a "simp"? How does being concerned about your career prospects and speaking politely and kindly make you a "simp"? How does liking a book and then liking the author make you a "simp"? People who love using this word, don't you ever have moments when you truly love someone or something? If not, that's truly tragic. How empty must a person's life be if they have no preferences, no hobbies, no one or anything they want to support? Calling someone a "lickspittle" simply because they like them is an offensive term, nothing more than a tool for keyboard warriors to attack others. Using it so frequently in book review sections is really childish. I remember just a couple of days ago someone on Da Meng's page said the book review section was a mess, meaning there were too many readers praising Jiu Qiu, too many "lickspittles." It's utterly speechless. Be more mature. Even if you don't agree with Jiuqiu 100%, please remember that everyone has their own preferences. Don't use your biased views to block other readers' freedom of expression. We don't swear, and we're not biased or extreme; we just like what we like. To paraphrase some people who like to express negative opinions, what's the point of the book review section? You have the right to express your incomprehension, disagreement, dislike, and impatience, and we also have the right to express our love, preference, and absolute support for Jiuqiu. Don't dismiss someone as a "simp" and think they can do whatever they want. It's a tragedy for some that they don't know how to express affection. Liking someone is a normal human emotion; it shouldn't be forced, and everyone doesn't have to be the same. Let each person mind their own business.

I've been reading Jiu Qiu's books for several years now. At the beginning of the year, during the pandemic, I joined a WeChat group and found 17K. I've always wanted to write something and share it with everyone, and this feeling has grown stronger lately. Today, I finally mustered the courage to pick up my pen. Let me briefly introduce myself: Male, born in 1986 in a small county town in northern Anhui, from a rural family, a homebody, and married. Regarding the reading order of Jiu Qiu's works, after much effort to recall, the first one should be *Reaching the Heavens*. Chapter One: Night Rain in Chang'an. At first glance, these four characters seem like a pure martial arts novel, but as I read on, I felt it was unlike any other novel I'd read before—completely different. I was particularly struck by Tian Yuanzi's teachings to Nanfeng: "First, think things through carefully before acting. Second, everything has two sides; if the benefits outweigh the drawbacks, do it quickly." The second book is my favorite, *The Broken Robe*. After several sleepless nights reading it, I was still deeply immersed in the gloomy and cold atmosphere that permeated the entire text, empathizing with Zuo Dengfeng's outward bloodlust and self-torture, as well as his inner torment. After Wu Xinyu's death, it was as if the whole world had lost its sunlight, leaving only boundless loneliness and endless cold. He lived the rest of his life for only one thing. Fortunately, Yu Fu and Tie Xie were a ray of warmth that pierced through the long winter night, accompanying Zuo Dengfeng through a period of time. His mutual reliance with Shisan was also deeply moving. Zuo Dengfeng never said "I love you" to Wu Xinyu, but he used his remaining years, filled with suffering, to interpret what love and responsibility truly meant. For a long time afterward, I kept thinking about what kind of experiences and personality could produce such profound writing. *The Broken Robe* is heartbreaking, but it's impossible to put it down. Next is *Ziyang*, which I felt carried some of the emotions from *The Broken Robe*, and it left me quite somber. Mo Wen's attitude and behavior towards Lin Ruochen after his abduction were constantly contradictory, stemming from the fact that Mo Wen and Lin Ruochen were no longer on the same level. The name "Ruochen" itself encapsulates his tragic life. Then there's *Tai Xuan War Chronicles*, whose map and conception I felt already showed the beginnings of *Return to One*. I read *Qi Yu Qian Nian* last, and after rereading it several times, I liked it more and more each time. Later, I learned it was almost Jiu Qiu's autobiography, a debut work that was also her peak, and some characters from it appeared in later books. Finally, let's talk about *Return to One*. With the groundwork laid by the previous works, reading this one was relatively calmer. However, there was one scene that still left me speechless—I couldn't help but slam my fist on the table. It was when Wu Zhongyuan took the now-conscious Huang Ping to see Lin Qingming, he brought a dog along the way to prevent Lin Qingming from committing suicide in despair. I was genuinely shocked; this scene was completely contrived, and Jiu Qiu's cunning was truly terrifying. The final part of the book is the author's reflections, exquisitely crafted and worth savoring. *Return to One* boasts an extremely grand scale, numerous characters, a complex plot, and a long writing period, elevating both the story and its themes. Next, let's talk about some of the characteristics of the work: First, it systematically popularized Taoist knowledge. Every one of Jiu Qiu's works is related to Taoism. My previous understanding of Taoism was limited to Taoist priests exorcising demons and ghosts in movies and TV shows. Jiu Qiu's works have provided us with a more systematic introduction to Taoist knowledge. Second, profound knowledge and rich life experience. The things Jiuqiu expresses in her works reflect the author's broad knowledge base. This requires not only extensive reading and summarizing, separating truth from falsehood, but also unique understanding and an astonishing memory. Jiuqiu also skillfully integrates her own experiences into her books, making them feel very real to the reader. Third, the terrifying mindset and the ability to resolve conflicts. The protagonist's insightful deductions and masterful handling of problems are truly astonishing. I believe the essence of a novel is to set up a series of conflicts and use the process of resolving them to illustrate certain principles. Jiu Qiu excels particularly in this regard; her work doesn't simply present a simple arrangement of conflicts, but rather a complex combination, all cleverly resolved in the end—truly brilliant. Fourth, the fight scenes are exciting yet unique. Jiu Qiu's works are filled with numerous fight scenes, but each one is different, ensuring the viewer can watch intently. The level of detail in the fight scenes is so high that a film adaptation wouldn't even need a martial arts choreographer. Fifth, incisive and penetrating moral lessons. I've always considered the essence of Jiu Qiu's works to be her profound understanding of human nature. This is a unique insight she has gained over the years. While her earlier works offered gentle guidance, *Return to One* reaches its peak, directly peeling back the layers to reveal the core. When Wu Zhongyuan returns to the modern world to comprehend the Great Dao, she dedicates sixty or seventy chapters to elaborating on his understanding. This involves many human flaws, which some readers may find unbearable, but everyone should understand the author's painstaking efforts and sense of responsibility. The truth is often harsh, and not everyone dares to bear the consequences of speaking the truth. VI. Meticulous Consideration. A work typically takes a long time from beginning to end. To accommodate readers' memories, Jiuqiu often adds detailed introductions when characters who haven't appeared often reappear, which is especially noticeable in "Return to One." Jiuqiu also explains complex plot points gradually, trying to make them understandable to everyone. 7. Logically Consistent Descriptions. Jiuqiu doesn't follow the typical "power fantasy" formula of instant success or portray near-perfect male protagonists. Each work depicts a gradual, solid effort leading to victory. The male protagonists' personalities are also imperfect: Zuo Dengfeng's extremism and self-destructive tendencies; Wu Dongfang's impulsiveness; Wu Zhongyuan's soft-heartedness, etc. They also exhibit various human-centered actions. But it is precisely because of these flaws that the characters become more three-dimensional, more human, and the plots more realistic. Furthermore, the descriptions of unfamiliar regions like the Heavenly Court, the Underworld, and the Demon Realm are all logically consistent, making them feel as if they should be. 8. Occasionally, a youthful spirit is revealed. Although Jiuqiu's thinking is quite mature in her works, she occasionally reveals a youthful spirit. Jiuqiu frequently mentions the pronunciation of classical Chinese in her works. At first, I was puzzled as to why she would include these things, but later I learned that the author does indeed have a background in classical Chinese. Thinking further, it could be seen as a display of her youthful talent, showing a charming side of the author. The brilliant conception of Peng Jiamu in "The Broken Robe" also seems to fit this interpretation. 9. Unwavering Commitment to Original Aspirations. While other online novels generally update quickly, Jiu Qiu's work is relatively slow in comparison, and he even occasionally takes breaks. What I want to say is that Jiu Qiu is a responsible writer, and the quality of his work far exceeds the average level of traditional online novels. Good works require polishing; if he really wanted to pad the story, Jiu Qiu could create a deluge. But he didn't; he strives for a word without any unnecessary words or phrases. In today's money-driven world, this is truly remarkable. Jiuqiu's works have many other highlights, and I will try to write something to share with everyone when I have time. Finally, I want to say that whether each reader agrees with the author's viewpoints in the work is subjective. However, please do not let this overshadow the quality of the work itself. Because I am not very knowledgeable and have not written for many years, this writing is somewhat disorganized and poorly expressed; please forgive me.

Challenge. Choice. Unity As humanity enters the 21st century, we face an increasing number of threats, many of which require the collective effort of all humankind. Climate change, terrorism, disease, poverty, and war are problems that no single nation or group can solve alone; each demands global solidarity and cooperation. Faced with threats and challenges, humanity has many choices. We can choose to remain aloof, building a shelter and returning only when the threat subsides. We can dig a trench, preventing flooding from entering our own homes, even if it doesn't reach others. Alternatively, we can choose to confront the situation proactively, setting aside differences and disputes, and cooperating for the shared destiny of humanity. The pandemic at the beginning of 2020 demonstrated these different choices. Faced with the raging epidemic, we chose to lock down Wuhan, containing the outbreak within Wuhan. Outside Hubei, over 40,000 medical personnel were dispatched to support Hubei, and non-essential personnel stayed home. As the domestic epidemic gradually subsided, it broke out in other countries. We Chinese did not choose to flee or remain aloof. Our medical personnel, exhausted from returning from the front lines, immediately joined the fight to help our friends. Our people, setting aside their differences, work diligently and do their utmost to provide the ammunition for people around the world to fight the virus. Because we know that this pandemic is a challenge for all humanity; no one can remain unaffected. If the pandemic defeats our friends, the pandemic that was eventually eradicated in our country will return. Only by forming a community of shared destiny and overcoming difficulties together can we defeat the pandemic and return to the normalcy of life. In "Return to One," Wu Zhongyuan's unification of the three tribes is a process of unifying the consciousness of humanity. When facing the threats of the Five Paths, if even the three tribes cannot unite, they will destroy themselves without the Five Paths. After unifying the three tribes, Wu Zhongyuan did not hide in a small building but accepted the border tribes, choosing to face the challenge together, even if it meant certain death. In fact, he could have easily created a large Bagua Qianyang to shelter the elite of the Youxiong tribe; even if the seal disappeared, he would still have a place. Wu Zhongyuan is a microcosm of our national character. We love peace, but when faced with danger, we will not bury our heads in the sand; we will rise up and fight, even to the point of sacrificing our lives for righteousness. We also know the principle of helping others achieve their goals and helping ourselves to succeed. Thanks to Jiuqiu, we have witnessed this magnificent process of unification. The unification of our Chinese civilization is not about territorial annexation or cultural invasion; it is about achieving ideological consensus in the face of threats to all humanity, seeking common ground while reserving differences, cooperating in times of difficulty, and forming a community of shared destiny to overcome challenges together. In 1985, to save Ethiopia from a drought crisis, rock singers from around the world held a concert of the century. The closing song, "We Are the World," included the lyrics: "We are the world, we are the children of the world, we are the creators of light, let us extend a helping hand, we are saving our own lives..." I hope we don't wait until we face a crisis to remember that we are a community of shared destiny, and that this community doesn't remain merely a song. We are all part of this earth, and we have an obligation to recognize that only by continuously forming a community of shared destiny can we better protect our common home.

Thank you, Jiuqiu, for your continuous stream of excellent works. Even a novice reader like myself can confidently say who I'm reading, without feeling embarrassed or ashamed to recommend it to anyone. I recommend it to male readers—the books are courageous and resourceful; to female readers—they are full of love and loyalty; and to younger readers—the books have sound values. Even if you prefer physical copies, I can confidently present the entire set! Thank you for your consistent nightly updates! Thank you for your consistent effort in writing quality content! Thank you! It's wonderful to have you by my side.

Embrace the original essence and return to simplicity.

Whether or not to kill the snakes and rats in the nest, it won't have a significant impact. What I'm more interested in is the change in how Shisanlang addressed Zhongyuan during the banquet, from "sir" to "younger brother," and finally back to "brother." This shows an author's complete immersion, or rather, their complete identification with the character in the book. Anyone who can do this, in anything, deserves praise.