Great Tang: You Mean That Lunatic Who Chops People Up Is a Scholar?

One sentence review: I thought he was a weak scholar, but I didn't expect him to be a "crazy critic" who is capable of both literary and military skills. This book's anti-routine play is really good. Let me first talk about the most attractive point for me - the beginning of the chapter welds together the words "scholar" and "killing people", which are two irreconcilable words. The protagonist, Lu Chuan, travels back in time and is forced by the system to become a soldier. If he doesn't do it right, he will never be a soldier. This setting is cruel enough. Cheng Chumo, the lieutenant of the recruiting office, refused to let him go because he was a scholar. As a result, Lu Chuan said, "Believe it or not, I will knock you all down." Then he actually knocked down eight veterans. This contrast directly pushed me down on the chair. The fighting scenes are written very cleanly, without any fancy moves, just fast, accurate and ruthless. During the night attack on the Turkic camp, 50 people fought against a 100,000-strong camp, burning supplies and capturing prisoners. The rhythm was so tight that it made people breathless. The most incredible thing is that Lu Chuan captured two important figures, Ast Umedi and Tuli Khan, with his bare hands. The Turks probably still can't understand that a scholar could do such a thing. Besides being able to play, what surprised me most about this book was the "technical flow" part. Blood transfusion to save lives, distillation of alcohol, purification of coarse salt, offering of potatoes - each of them is closely related to the historical background, and it is not the kind of fun that comes out of thin air. Especially the part about blood transfusion to rescue Cheng Chumo made my palms sweat. There are also those second-generation soldiers - Cheng Chumo, Yuchi Baolin, Qin Huaiyu, and Luo Tong. Together they are a living treasure. The part where they collectively recognized Lu Chuan as their godfather made me laugh so hard that I slapped the table. It is currently tied, and the data is also going up. The 9.2 Points are not for nothing. If you like the background of the Tang Dynasty, light-hearted writing, and historical fan fiction, this book is worth a try. The only drawback is that it doesn't update quickly enough!

When a scholar picks up his sword, what kind of flowers bloom in the cracks of history? 1. The contrasting aesthetics of a "crazy criticizing scholar" The title of this novel itself has a unique "clickbait" temperament of online novels - "The mad critic who slashed people is a scholar". The seven words accurately captured the curiosity of the readers. But after reading the full text, you will find that this is not just a sensational gimmick, but the core tension that runs through the entire text: a scholar who should have no power to restrain a chicken turns out to be a ruthless man who can single-handedly defeat eight veterans of hundreds of battles and fight in and out of the Turkic camp. The reason why Lu Chuan is a lovable character is precisely because he breaks the readers' stereotype of "travelers". He is not the kind of traditional literary copycat who starts off by reciting poems and gaining fame by plagiarizing poems from later generations, nor is he Long Aotian who relies on modern military knowledge to cheat all the way. The sense of contradiction in him is three-dimensional - he is not only a talented man who can write "Why don't men bring Wu hooks and collect the fifty states in Guanshan", but also a warrior who can break the wrists of Turkic soldiers with his bare hands; he can save people's lives with blood transfusions, and he can also take the prince to Cheng Yaojin's house to slaughter cattle. In other novels, this kind of "both civil and military" may just be a pile of characters, but here, it is processed into an almost absurd sense of reality. The author repeatedly uses the label "white-faced scholar" to create contrast - when Yuchi Gong first met him, he thought "this guy has thin arms and legs", and the Turkic soldiers laughed at him as "the lamb of the Tang Dynasty", but every time, this "lamb" would show its fangs. The feeling of pleasure brought by this contrast is more layered than simply crushing with strength. 2. "Fan creation" in the gaps of history The time chosen for the novel is very interesting - in the ninth year of Wude, the Xuanwu Gate Revolution had just ended, Li Shimin had not yet officially ascended the throne, and the Turkic Jieli Khan took advantage of the opportunity. This is one of the most delicate moments in the history of the Tang Dynasty. The pain of internal power change has not subsided, and the crisis of external powerful enemies has arrived. The author inserted a "Lu Chuan" into this gap in history, and then watched him drop into the lake like a pebble, with ripples spreading out in circles. The "Weishi River Alliance" in the official history was rewritten as the "Jingshui River Alliance", Tuli Khan was captured in advance, Zhao Deyan was "sent" to the Turks to cause destruction, and the salt industry monopoly was implemented in advance... Each rewriting is logically self-consistent and serves a greater narrative ambition: to make this time traveler not just a spectator of history, but a participant. What is worthy of recognition is that the author did not ask Lu Chuan to "reduce dimensionality and attack" the ancients as soon as he came up. On the contrary, the ancients in the novel - whether they are top politicians such as Li Shimin and Fang Xuanling, or military generals such as Yuchi Gong and Cheng Yaojin - all show considerable wisdom and insight. Fang Xuanling was able to deduce the strategy of preferential treatment of prisoners from the four words "disintegrate the enemy army", Du Ruhui was able to think of using mutual trading to control the Turks, and Wei Zheng was able to write such an eternal masterpiece as "Admonition to Taizong Ten Thoughts". This treatment allowed for a real intellectual confrontation between the time travellers and the ancients, rather than a unilateral crushing. 3. The embarrassment and breakdown of the "system" It must be admitted that the setting of the "Tang Dynasty Warrior System" in this novel is an unavoidable point of controversy. System literature has long been prevalent in the online literature world, and the system here—giving strategy and force values, issuing telescope blueprints, and how to make penicillin—does have a bit of a "tool man" temperament. But what is interesting is that the author seems to be aware of this and has carried out a certain degree of self-destruction in the text. Lu Chuan's own attitude towards the system is disgusting: "Ah, what a dog system, selling dog meat with a sheep's head!" "The Tang Dynasty warrior system that I lied to myself, will reward him with literary points every day." This "official complaint" has alleviated the abruptness of the system to a certain extent. More importantly, the things the system rewards—telescopes, blood transfusions, penicillin, potatoes—are embedded in specific plot scenes rather than falling out of thin air. The telescope was used in the night attack on the Turkic camp, the blood transfusion method was used in the rescue of Cheng Shumo, the penicillin was used in Xiaosizi's fever, and the potato was naturally derived through the clues of the "overseas businessman" in his hometown and the old sow feeding the pigs. This "feeling of landing" makes the system rewards no longer cold props, but a key node that promotes the plot. 4. Group portraits: those historical figures who were "activated" The most brilliant part of the novel is actually not the protagonist Lu Chuan, but the process of "activating" the historical figures around him. Yuchi Gong: From the image of the door god in the official history, he has become a "Uncle Black" who will cry when Cheng Chumo is injured and secretly drink Lu Chuan distilled liquor. His respect when facing Father Lu, his tacit understanding when facing Cheng Yaojin, and his loyalty when facing Li Shimin all add up to the image of a flesh-and-blood military commander. Cheng Chumo, Qin Huaiyu, Luo Tong, and Yuchi Baolin: These second-generation soldiers are not just "followers". Each one has a distinct personality - Cheng Chumo's big brother demeanor, Qin Huaiyu's talkativeness, Luo Tong's straightforwardness, and Yuchi Baolin's recklessness. The process of them and Lu Chuan from strangers to sworn friends was written naturally and smoothly, especially the part where Mr. Lu recounted the past after being drunk. It was full of laughter and tears, and the friendship between the two generations was condensed in a few bowls of wine. Wei Zheng: This is one of the most surprising supporting characters in the book. The image of the "critic" in history has been deconstructed - he would drool over a handful of celery, secretly gorge himself when Pei was not at home, and would teach Lu Chuan a lesson while co-writing memorials with him. This kind of "de-sacralization" process makes Wei Zheng no longer a symbol in textbooks, but a person with quirks and warmth. Li Chengqian: The seven-year-old prince was written extremely brilliantly. He would carefully calculate the difference in salt prices to share his father's worries, hold his sister in his arms and reassure her not to be afraid, and nod heavily when Lu Chuan taught him to "let the people of the world have enough to eat." This kind of "sensible" is not a deliberate precocity, but the natural growth of royal children in a specific environment. Considering the tragic ending of Li Chengqian in history, this "White Moonlight" style of shaping only adds to the sadness. 5. Plot design and rhythm control The novel shows a good sense of rhythm in plot design. From the "soldier conflict" at the beginning to the "night attack on the Turks", from "blood transfusion to rescue Cheng Chumo" to "captive Tuli", from "salt industry franchise" to "rescuing little Sizi", there is a small climax almost every few chapters, and each climax serves the growth of the characters.