The performance of this book is as dismal as the last, leaving the author in dire straits.
However, this is a consequence of my own choices; I eschew tropes and focus solely on storytelling.
In my opinion, a novel is about telling a story. The protagonist experiences lows and highs, all shaped by their journey. It's about their character, the choices they make at certain junctures, and the subsequent actions they take.
Deliberately incorporating various plot devices feels inauthentic.
Now, regarding the protagonist of this book, He Li.
He is a complex individual. When making certain decisions, he is highly rational, a trait that naturally steers clear of forced, dramatic moments.
This was something I had already considered when outlining this book.
Furthermore, some readers have dropped off because the book's scope isn't grand enough, lacking a sense of national or familial duty.
To put it mildly, my writing and stories cannot bear the weight of those words.
Those four words encapsulate immense blood and tears, countless stories forged into them. How could I presume to imbue my book with such a concept?
I cannot write it, nor do I dare. Many things, many stories, cannot simply be written by picking up a pen. Some things are beyond my capacity to write, and for that, I ask for your understanding.
In He Li's world, there is only family, only his kin. When the burden of being the head of the household shifted from He Jun's shoulders to He Li's, from that moment onward, He Li became the patriarch of a family. He had to be responsible for many people.
Therefore, he cannot be impulsive; he must endure and be cautious in a dangerous, unfamiliar environment, remaining humble and subservient.
Perhaps many readers find this unsatisfying, lacking that sense of exhilaration.
My understanding of a "gratifying" story lies in the protagonist's inner breadth.
Must he be the strongest? Must the female characters in the book be beautiful? Must they fall for He Li? Must the villains be killed by He Li? Are supporting characters and villains merely there to highlight the protagonist?
Thus, supporting characters revolve around the protagonist, and villains are all fools.
I don't believe so. He Li has failed many times and suffered greatly. Fighting opponents of a higher cultivation level is out of the question. If he could effortlessly defeat stronger foes, what would be the point of others cultivating for millions of years?
Are those millions of years of cultivation merely to showcase how formidable He Li is?
If so, then they should cease cultivating, live out their days idly, and then, when He Li appears, simply offer their necks for him to sever. After finishing this book, I'll be moving on to the next.
Are supporting characters and villains all designed with the same template?
For the supporting characters in my book, I describe them with the most concise words possible. I've held three jobs and met many colleagues and friends.
However, after I resign and leave a city, I rarely, if ever, contact those friends. They are transient figures in my life; some I've forgotten the appearance of, only remembering a name and a few events that transpired. That's all.
Were they important to me?
Perhaps, perhaps not.
It's the same for the supporting characters in the book. During a certain period, events occurred. I dealt with those matters earnestly, treated the friends of that time well, and tried not to leave regrets.
Some readers ask why "Hua'er" wasn't brought to the Divine Realm.
This question is easily answered: could Hua'er truly adapt to the Divine Realm? Peace and family are Hua'er's true belonging. Scheming and warfare are not his world.
Then there's the issue of the combat scenes not being well-received. I apologize for this. Once on the battlefield, combat can erupt at any moment, and life and death are often decided in an instant. How should I write it?
First, build anticipation, then narrate, then exchange taunts to boost prestige during the fight. Supporting characters fall, the protagonist experiences a flashback, followed by an emotional outburst, shouting attack names, and finally, defeating an enemy eight levels higher. Protagonists and antagonists are shocked, thinking, "Wow, he's that strong? How amazing..."
Well...
I cannot write like that.
Combat does not change its course according to someone's will, nor does it allow for moments of stunned silence or grand pronouncements.
By the time you finish shouting attack names, your head will be gone. Go shout them to King Yama.
In both of my books, there are essentially no attack names; it's just direct combat. Speed and ruthlessness are key; whoever is faster and more ruthless survives. A moment's delay, and you're dead. It's that simple.
Of course, such combat lacks visual flair and is difficult to write (it doesn't allow for padding word count).
But I believe this is more realistic. Perhaps web novels shouldn't pursue such things; they should follow tropes, with climaxes at certain junctures and gratifying moments strategically placed, like filling in a formula.
My friend, after hearing my ideas and reading my book, called me a pretentious white lotus, stating that my performance was destined to be poor.
Haha...
It doesn't matter. I've already written it. What more do you want from me?
He Li is destined to be solitary, just as Chen Du said, a king must be alone. To gain something means losing something else.
Can you have your cake and eat it too?
How can that possibly exist?
Every step He Li takes is his choice, and he must bear the consequences of those choices. Some paths are destined to be walked alone, and some hardships must be endured alone.
The path to becoming a king is inherently solitary, destined to be paved with thorns and corpses.
Finally, let me address Old Cheng's issue. In fact, when "Star God Power" and "the corpse of a giant beast in the Star Sea" appeared, I had already laid the groundwork, and many readers had guessed it.
Now, it's up to the author to fill in the blanks.
...