【Modern Era of Mysteries】【】

Unconsciously, the sixth volume comes to an end. In this volume, Mr. Dickinson sends away the ancient Wright, offends the Lord of R'lyeh, enters the dream world and returns, is promoted to the King level, and finally reaches the top of the Arondack Mountains, ushering in the A drastic change of fate...

Before writing The Promised Battle with Nietzsche, I thought about this scene over and over again, and the echoes I heard were similar every time. Due to the early creation of Nietzsche, some readers even speculated that the battle with the president might have a dark ending. In fact, I often come across this problem: How can a top-level King have a hard time defeating the black Joker even if he has a hard time facing an Ace? Therefore, in fact, the ending of this volume was already determined the moment the battle took place. However, in front of the black Joker, who was so conceited that he shackled himself, Sean, who was unexpectedly victorious, actually won. However, because Nietzsche went back on his word, he fell into an unknown state. I personally find this kind of situation where it is difficult to make a conclusion about winning or losing very interesting, and it is somewhat indescribable that can only be felt in real life.

Today I suddenly realized that the mysterious and modern main story structure is a bit like the Wang Dao comics: there are distinct ranks defined by strength, there are all kinds of fancy strong men, and there are also collisions and challenges between the strong ones. In fact, writing about the improvement and struggle of force has made me a little tired of aesthetics. For example, although sugar is instinctively loved, I can no longer enjoy the too simple taste because I eat too much. The story structure of Wangdao comics is a cultural phenomenon. Strength training and competition are the source of interest of this kind of story, but it is also its limitation.

When it comes to "the strongest versus the strongest", people feel a sense of expectation inexplicably. This is probably a curiosity rooted in the psychology of all men. Therefore, I think that strength improvement and competition can still be written, but I don’t want to regard it as the absolute main line. After all, the greatest charm of the story is still “human nature”. Maybe it's because of the age. For example, in the end, a group of close friends decided to inherit their will and wait patiently. Selfishly, they felt that it was more exciting than a simple armed struggle.

Let’s talk about “the strongest” and “fighting”. Today’s story happened to be a representative event in the industry. I have watched various analysis videos until now, and it is the death of Gojo Satoru in the latest episode of Jujutsu Kaisen. I won’t go into the specific details. I slowly came to two insights from various analyses: one is that shocking readers and tricking readers are two different things and cannot be confused; the second is that the author must respect the image and setting of the character. These two points should be paid attention to when writing any story. If the author respects the characters enough, he will not create a plot in which the characters collapse. When creating a self-pleasure plot, a voice will jump out and say: "No, although this may seem interesting, he will not do it." If there is such an examination, I think it is enough.

Let’s talk about the limitations of kingly stories. I feel that the story of the king has hit the ceiling of this type of story structure. The specific change in my concept is that I no longer enjoy this kind of upgraded king story, because some patterns have been quite fixed. For example, although there are not many spells to return to the battle, as soon as the character of Gojo Satoru appears, people can feel that he is either the final boss, or he is going to "die". The instrumentalization of the character has been revealed very intuitively from the presentation of the character. Whether it’s Whitebeard from One Piece, Jiraiya from Naruto or the strong men from previous generations in various stories, they are all used to die to highlight the strength of the villain, to create revenge plots and a sense of turmoil when a pillar collapses. I don’t know if you are tired of it, but I already know the “function” of this character and its “effect” on the protagonist’s path as soon as he appears. Anyway, I am tired of this feeling. If a character's life and heart are not important to the author, but what role he plays in the protagonist's journey of conquest is important, the character will be ignored for the sake of a cliche structure. In my opinion, it's like picking up sesame seeds and throwing away watermelons. In doing so, it also weakens the possibility of the story and presents only a tired pattern that has been repeated many times.

This chapter is not finished, click [next page] to continue reading -->>

【Modern Era of Mysteries】【】

Just imagine, the creator of the story, dares Gojo Satoru to really beat Su Nuo to death? In the end, the boss was beaten to death by the teacher. How will the story unfold after that? Readers will also be looking forward to it! This reminds me of the old president and the ant king in "Hunter" who died together. That's called shock. If you have to write a kingly story, temporarily put aside the protagonist's complex and the "iron law" of who can defeat the boss, or even put aside the functionality of the character, but let the character fully bloom - this is the truly bold way to write a kingly story. ! This period of thinking may be the dividing line between Wangdao's story creation realm. The reason why he does not have such courage and energy is that UU Reading www. The author of uukanshu.com has tied himself up. He always has only one protagonist and one road of conquest in his heart. The possibility of escaping frightens the creator, fearing that the story line will fly into an area beyond his control (a story experience he has never had before, a plot he has never seen). However, it is precisely this kind of effort that makes the story truly collapse again and again. Bad (forcibly written to death), or bland (why is it a familiar plot again?). This unconsciously old-fashioned way of thinking is not interesting at all, and it doesn't make for an interesting enough story.

This also reminds me that I have to think outside the box when thinking about the plot of the story. When writing stories today, you must dare to break out of the old mold, be courageous, and even dare to challenge all the frameworks set for yourself for the sake of controllability. At the critical moment, he also dared to truly hand over the story to those characters. This can show the true charm of the story. After all, this charm comes from "people", and it doesn't even matter whether that person is the protagonist or not!

With this understanding, many charming characters come together in the story, and you can’t even find an absolute protagonist. Only then will the story truly become epic...

When will we break away from the already tiresome path of customizable conquest for a single protagonist? I think I will continue to think and try on this road.

Let’s talk about this book. The direction of the story in Volume 7 is still a bit vague. Next, I plan to draw up an outline in my mind. I will also have time to read the book to recharge my batteries. In order to simulate the "eight years of waiting" in the story, I will stop writing for about a week. I think this pause is necessary - to give a story that has become slightly stale from being told for too long a chance to blow a new wind.

What will happen in these eight years? I think it's worth looking forward to. Please wait a moment and then start Volume 7.