Above the Kingdom of God

A brief review of the aesthetic core of "Beyond the Kingdom of God" ——The combination of literary youth paradigm, emotional narrative and punk-like aesthetics Above the Kingdom of God has been updated to Chapter 231 (September 8, 2020). The entire narrative strategy largely follows the "upgrade and fight monsters" strategy of online novels. That is, the novel uses the protagonist's journey along the way as the main line of advancement, and establishes a series of hierarchical orders to regulate the level of strength. However, the difference is that "Beyond the Kingdom of God" has its own original artistic features, which makes its reading experience very different from most online novels. The effect of defamiliarization has led to polarized readers' evaluations of it. In view of this, this article attempts to explore its aesthetic core, analyze its endogenous mechanism, and summarize three core points to elaborate on it for the benefit of readers. 1. Li Mi's literary style and the "literary youth" paradigm The word "Li Mi" can be the same as "Mi Li", which originally meant beauty and tranquility. It was also used by word commentators to guide the generalization of Song Dynasty poet Wu Wenying's style of writing, describing its gorgeous imagery and profound meaning. However, sometimes the words and sentences are often too elaborate and have a sense of obscurity, which has been criticized by later generations and makes it difficult to understand the meaning. Praisers especially like the sense of infinite meaning in his words, calling Wu Wenying "Li Shangyin in Ci". The meaning of the text has multiple interpretations, forming an ethereal and ambiguous artistic style. The author's writings on Jian Yisi Sword are similar to this. Critics accuse it of excessive rhetoric and carelessness, making it difficult to feel comfortable in the reading process. Like the famous writers Mao Ni and Feng Huo, it suffers from the "literary youth" disease, and many obstacles are added to the understanding of the entire text. Fans believe that the author's text should not be read quickly. For example, when drinking strong tea, you should not pour it in one bowl. You must sip it in small sips and savor it slowly to experience the taste of the tea. Starting from the readers' habits, because of their different reading habits and previous understandings, their attitudes towards this book are very different, and the two often argue about this. The author's independent existence inevitably makes his literary style different from that of any other author, but the difference is huge. If a large number of identical literary styles exist, it will inevitably obliterate the author's subjective status in the entire literary creation. The behavior of online articles will tend to be the same. The entire online article industry will be like a ditch of stagnant water, and the breeze will not be able to blow any polyester. Each author will be different from other authors because of his or her own experience, reading literacy, and even his or her mentality when creating. The more significant this difference is and the author can continue to be created, and if the author continues to be appreciated by the same group, he will be able to find a place in the world of online literature. Even if there are more critics, it will be enough for some people to support the author. Readers do not need to criticize dissidents because of different attitudes, and authors should not hesitate to move forward and stop writing because of too many controversies. "The beauty of harmony lies in the unity of differences." The difference between the author's creativity and the reader's individual acceptance makes each work have a different impact on different readers. There are a lot of situations where "the other is the fairy and the other is the poison". Generally speaking, the author's literary style of Seeing Strange Swords has formed its own characteristics. The use of the word "Limi" is a high-level summary of his literary style. In the current chapter, the writing style is more gorgeous, less fond of using plain narratives, and the words are more decorative, from which we can get a glimpse of the author's writing skills. The author changed the beginning countless times, and finally settled on a short sentence to start with, confirming the time and place of the story. It was short and powerful. He did not choose to use a straightforward narrative and use physical stimulation (in ordinary online articles, the appearance of a peerless beauty is often used as a way to enjoy reading) to attract readers to join the reading activity. This is a novelty. The entire narrative process is full of pictures, drawing on similar film creation techniques. It starts with a distant view, from far to near, from high to low, from top to bottom. The curtain slowly opens, and the final mystery is gradually revealed. However, the expressive power of words is not as good as the lens language and action language of movies. Readers need to construct a picture in their minds. This is actually not in line with the fast reading and non-retrospective reading method in online articles. But if you calm down and read it, you will feel that it has a novel artistic effect and is full of pictures. As the story progresses, this literary style becomes more and more prominent. During several fights, camera language was used. Since words are beyond the power of words and the sense of expression is not as good as that of movies, metaphors, symbols, and similes are used many times in the fight scenes to allow readers to immerse themselves in the sounds of sword strikes. From the first scene where the imperial city undergoes a sudden change and the protagonist begins to be reborn, to the latest chapter where the story returns to the starting point, the entire fighting scene is colorful and diversifies the world conceived by the author. Readers glance at ten lines and quickly skim over the text, which makes it difficult to process the huge amount of information. Therefore, some information is not clear, and it feels like seeing flowers in the fog. The scene suddenly switches from one place to the second. Coincidentally, Wu Wenying's words also have similarities. His poem "Three thousand years of things have happened except for the ruined crows, and I am silent and tired of relying on the autumn trees." The poet leans on the railing to remember the past, and thinks of the past from the scene of the day. The image of the setting sun corresponding to the ruined crows is usually omitted, and the next sentence jumps from the past to the autumn trees of today. Time and space change freely with the poet's thoughts, and it is the first of the stream of consciousness. In this book, the speed and sequence of narrative time and space also change freely. In the imperial city in the first volume, scenes of inner demon tribulations appear many times, changing from real to imaginary, while the real scenes continue to unfold. In the third volume, the battle between the protagonist and the guilty king took only one night but half a year had passed, and the speed of time and space suddenly accelerated. The first volume only covers seven days of scenes, while the second volume captures several typical clips over a period of several months, leaving the rest of the time in one go. The third volume narrates the story of nearly two years, interspersed with character activities in another scene, blurring the continuous changes in time and space. The virtual and real scenes constantly change freely, and foreshadowing narratives and flashbacks often appear. First reading requires calmness and appreciation. This is often understood as one of the manifestations of "literary youth". In terms of narrative structure, it breaks through the shackles of continuous narrative in traditional online novels. In many chapters, the narrative development is artificially hindered. The development of one event is suddenly split into two parts by another event. Events can be arbitrarily sequenced and combined, breaking the linear development of time and space. Chapter 112 ends with the meeting between Madam Bai and Zhao Xianger, but another chapter begins at the beginning of the next chapter. The scene of their meeting is arranged after the events that happened later. A few strokes create a time inversion effect. Breakpoints in the narrative are rare in online novels, but it is indeed unique. Another example is that in Chapter 195, Zhao Xiang'er's assassination of King Jin was shown in a preview manner, and then the text only flashbacked to this event in Chapter 211 during the conversation between Zhao Xiang'er and Lu Marion, interspersed with the protagonist's adventures in the abyss. Each chapter usually uses a large number of storyboard-like shots. One chapter often not only describes the same thing, but also narrates multiple things in multiple places at the same time. Compared with plain direct narration, it increases the sense of difficulty in reading. In terms of content processing, the author's processing is more literary and artistic. Readers' acceptance requires their own pre-understanding before they can understand its meaning. The whole text uses a lot of metaphors, symbols, and metonymy techniques, and at the same time, some popular words on the Internet are appropriately integrated into the text without the feeling of cutting off the details to fit the shoes. If the reader's pre-understanding is not in place, the reading activity will inevitably feel uncomfortable. In Linhe City, the protagonist beheads the bull in formation (Chapter 119), and in the Sword Peak assessment, the protagonist chops the green wooden board horizontally (Chapter 136), both embody a referential nature. The creation of the text mirrors the current popular language. It is not only the objective reality described in the text, but is abstracted into a cultural symbol in the context of the times. Only in a specific cultural field can readers understand what it refers to and the author's intention of creation. In the latest chapter so far, a variety of rhetorical devices are used intertwinedly, and the meaning of the text itself is expanded. The first volume uses word analysis techniques to reinterpret the origin of Zhao Xianger's name and Yongjie Tongxin, which adds a three-dimensional sense of character creation; the second volume quotes an article by Xu Ling, a literati from the Southern Dynasties, and combines his life experience to suggest the temporary separation of the protagonist and Lu Marion; the origin of Shao Xiaoli's name in the third volume implies the feeling of "the years are gone, and the seasons are flowing", and the description of the snowy scene has more inherent meaning. In terms of emotional expression, the entire text sets an emotional tone that is erotic but not obscene, and implicit but not explicit. The author or narrative emotion is hidden, just like a positioning camera, using words to record the world of the Kingdom of God constructed by its text. There is no strong emotional expression, and the relationship between the male and female protagonists develops naturally and naturally. The scene where men and women are in harmony is expressed in a symbolic way, and readers can understand the beauty of it in a subtle way. The author inherits and develops the descriptions of clouds and rain by literary giants of the past dynasties, giving new meanings to old words, and re-explaining them to create a strange feeling for familiar words, which is a pioneering contribution. In Chapter 123, the protagonist enters the fantasy world described by the author and embraces the heroine. In Chapter 219, the author re-explores a new realm of classical poetry. The three stories are unique and in line with Lao She's description of the changes of two stars in the sky in "Camel Xiangzi" and Zhang Ailing's description in "Little Reunion" of "animals drink from a thread of underworld in a dark cave." There has been no fiery emotional expression in the entire story so far. The author does not actively intervene in the emotional activities of the characters, letting the emotions be described naturally, allowing the unreliable narrator (the appearance of the child Ding Leshi in Chapter 113, the fisherman's language in Chapter 227) to complete the testimony of the emotional experiences of men and women. Although "Beyond the Kingdom of God" follows the fixed formula of online novels in its current narrative text, it has the effect of innovating and bringing forth the new. It has novel effects in terms of formal structure, content expression, and emotional processing. If you adopt the method of swallowing the jujube and skimming quickly, it is easy to get stuck in the mustard formed by dense text. Therefore, many people label this book as "literary youth", thinking that it is an imitation of the predecessor writers. They label this book when there are many gaps in information understanding, which makes many people discouraged. "Literary youth" is not a stigmatizing term, but a highlight of the author's aesthetic core. In online literature, he gradually absorbs the classics and structural expressions of traditional literature. Compared with ordinary online literature with smooth text, it really needs to be chewed carefully. However, "In Search of Lost Time," "Ulysses" and "The Sound and the Fury" did not become literary classics because of their obscurity. Instead, they left a mark in the history of literature because of their originality in structure. "Beyond the Kingdom of God" has formed its own "literary youth" paradigm because of its unique literary style, and created its own characteristics after drawing on the strengths of others. Readers who like to read with concentration will understand its wonderful taste. "You can only see a hair, but not its shape; you can see a single color, but you don't know its beauty." To evaluate a book, you can't just make a narrow evaluation from a certain angle, but make a comprehensive evaluation. Good works are those that can withstand the precipitation of time.

The new book group is in the introduction. If you like this book, you can join the group for discussion!

I haven't stayed up late to read a book for a long time. Yesterday, I QmQed on the road pointed by the old driver in Longkong Shangfeng. I had a great time reading it. Thank you... I feel that the person who can really write about Scarlet is a platinum person. They are very interesting and experienced people (but I am a pure lover, so I didn't dare to read the previous work. I finished the charming charm of the fan. It was really... Uncontrollable sadness). The author is a senior and I am a junior this year. I also want to write my own story and shape the world many times, but The outline is really too difficult for me... I can't think of a story, and 233 wasted a lot of characters that I thought of in a flash. I was really inspired by Jian Da's work today after reading it. Even if it is boring to read, I want to write my own novel... Not to make money... Who cares about money when writing Scarlet? Haha, I voted for the monthly vote today just to support Jian Da. I hope you know someone who particularly likes this story and the people in it. When I first read it, it had a bit of the flavor of Zhu Xian, intertwined with the main tone of light sadness, dreaming back to the golden age... But it is not cliche and there is no trace of the jokes... I admire it. Compared with some people who make a living by making jokes... (Forget it, there is no need to compare), the writing style is full of details and magnificent pictures, which makes it comfortable to read. But I feel that the outline is really not enough to lay out much of the plot. Basically, if I read a lot, I can see the edges (actually, it doesn't matter, the details and how to tell the story are more important, but I am afraid that the short length will waste such a well-conceived world view) The outline is really a headache orz, so I quickly encourage you to slow down the idea, don't rush! Come on, come on, come on, come on

How to put it this way, I originally planned to put him on the list for Jian Da's birthday next year, but a leader was announced last night, so I will add one more today, just to make the list before it goes on the shelves. The results of this month's book will definitely be better. I hope this book gets better and better. I believe it's getting better and better. You need to be confident when writing and have expectations before writing. My expectation as a reader is Baimeng (2/100), which is actually not something unattainable. Take your time, it will happen. Well, that's it, Xiaoling will always be awesome in the end!

I didn't expect that the first spanking in this book was not a long-term one.

In this story, there are only male protagonists and women in the world.

It feels so weird. Although he is a woman, he is a swordsman. To be honest, the change is too sudden.

This book makes me learn to be like a general manager.

There are shadows of two people in Marry.

Or do time and fate have the highest authority?