Abstract: The development of female frequency online novels from 2020 to 2021, the variety of changes in the world setting is its most important feature. First of all, the genre elements such as science fiction, suspense, and horror have been fully revived, and while constructing a highly fantasy and highly stimulating worldview, it shows women's attention and exploration of serious propositions such as "post-humanity". Secondly, the female frequency novel began to present the social care of the realistic aspect, returned to the women themselves, outlined the "post-jungle" shift of the workplace imagination from "volume" to "Gou", and opened up the diversified potential of women's writing in the special form of "no CP". Finally, the female frequency's romance narrative also reflects the actual love desire and power order, showing the current female-specific pleasure patterns and gender awareness through the popular trends of "buying stocks", "majiawen", "multi-treasure text" and "heroine upgrade text".
Keywords: Internet Literature Female Frequency World Setting
The author is Xiao Yingxuan, Associate Researcher, School of Liberal Arts, Shandong University (Jinan 250100).
Source: Chinese Literary Criticism, No. 1, 2022, pp. 143-P149
Editor-in-Charge: Lingxiao Chen
In October 2021, Jinjiang Literature City announced that it would gradually implement the "age-specific reading recommendation system", which immediately triggered a hot discussion on the Internet. How jinjiang's measure will be implemented, and whether it can create a precedent for the classification of domestic literary and artistic works as speculated by netizens, is still unknown. However, the reason why Jinjiang dares to take the initiative to "grade", this confidence is largely due to the diversified appearance of today's online literary female frequency works. Jinjiang, which started with a niche "women-oriented" culture, has gone a long way on the road of mass commercialization. Since 2018, the number of registered users in Jinjiang has doubled in just a few years. This change has not been paid enough attention by researchers before, and the influx of half of new users will inevitably cause drastic acid-base changes in the soil of women's literature and give birth to new user ecology and type trends. After the older generation of "big gods" authors collectively switched to IP-oriented writing, a group of new "big gods" worshipped by new users have also quietly changed dynasties. In addition, the upheaval is also driven by the demand for mainstreaming, the external causes of external censorship, and the internal causes of intergenerational change and media integration. Compared with the male frequency online literature that has been "completed", the female frequency world with Jinjiang as the core is undergoing a crucial transformation, and the stereotypes of women's online literature in the past have reached the moment to be broken.
In the 2018-2019 review, the author describes this transformation as a new trend of "snorting CP" and playing with settings. After experiencing the reality of the global COVID-19 outbreak since 2020, female authors who have suddenly entered the "post-epidemic" era have more vividly shown their keen concern for the world. They have stepped out of the small illusion of intimate relationships, marching towards the vast world and the sea of stars, and writing "narrative poems" belonging to girls with vigorous creativity, precocious penmanship and naïve idealism. The "world" of "recounting the world" is not only the "world" of the "world setting", that is, the new and varied worldview structure in the novel; it is also the "world" of the "real world", which points to the realistic observation displayed by female authors through the poetic fantasies of online novels.
First, reflect the reality of the other world fantasy
In the past two years, science fiction, horror, and suspense have become the most common genre elements of female frequency novels. As a relatively mature genre in the era of print media, traditional science fiction, suspense reasoning and thriller horror have always been on the fringes of the online literary landscape in the past. The original niche theme is now shining, which is directly related to the trend of genre integration of female frequencies. Following the crossing and rebirth, the "system" has become the most mainstream way of network text structure, and the "main line/branch line" structure of "system release of multiple tasks - the protagonist enters multiple copies to complete the task" enables the "system text" to accommodate a variety of world settings, encourages female frequency authors to boldly explore, and superimposes and integrates various types of elements. Niche types are called back, forming a database of genre elements and world settings for authors to invoke at will.
Most of these works are created by new authors who have emerged in recent years, and their skillful use of genre elements such as science fiction, suspense, and horror shows a precocious writing ability. Thanks to the rich multi-media cultural resources behind them, this group of "net-born" authors receive global popular literary and artistic works with zero time difference, and stand on the same running line with science fiction, suspense and horror lovers around the world, and the mature production mechanism nurtured by Chinese online literature for more than 20 years has given them the innate advantage of genre novel creation. Compared with the works of their predecessors who have been crowned with the title of "classic", the circumstances of different eras reflect different literary fantasies, prompting them to challenge through their works and write a new chapter of their own.
1. Science fiction: "Post-human" imagination of "going to the center of humanity"
In the boom of female frequency science fiction, 14 continents' "Little Mushroom" (Jinjiang Literature City) is very prominent. It is not only the hottest IP new work of the female frequency in the past two years, but also won the double harvest of commercial achievements and readership, but also won the recognition of the traditional science fiction community, and won the Silver Award for Novel of the Year 2020 at the Nebula Award. The science fiction theme of "Little Mushroom" is not the author's inspiration to create, it undertakes the "end of the world" writing context since the female frequency since 2011. Rather than traditional science fiction novels that emphasize the change of science and technology to the world, or even have a certain technical prophetic nature, the "end times" of the female frequency should be understood as a future fantasy of an other world, and the "science" it involves is a pure setting, and the important thing is not the operability of technology, but the social fable after the setting occurs. Previous "end-time texts", such as "2013" (Jinjiang Literature City) by Non-Tian yexiang, draw on the heroic core of Hollywood science fiction disaster blockbusters, and the main story line is that the protagonist represents the last human struggle to survive and rebuild civilization in the ruins. On this basis, the breakthrough of "Little Mushroom" lies in the introduction of two new variables - the "Cthulhu" world setting and non-human protagonists, thus opening up a new "post-human" imagination.
"Cthulhu" is an ancient mythological system of ancient evil gods created by american horror novelist Lovecraft in the 1930s, which has been familiar to Chinese audiences in recent years due to the global popularity of works such as the American drama "Stranger Things" (2016), and has been transformed into a popular world setting for online novels by works such as "The Squid Who Loves Diving" (Squid Who Loves Diving, starting from Chinese Net). The "Cthulhu" of "Little Mushroom" is not only manifested in the mutated monster of the collage wind, but also captures the core essence of "Ke Wei" (short for "Cthulhu Flavor") - the inexplicable horror, irrational anti-scientific chaos. The mutation of human beings and all species "polluting" each other in the novel is unprovoked and unstoppable, and the whole world is destroyed and decayed into the abyss in an absurd manner. The "Little Mushroom" and "Cthulhu" online articles written before the epidemic seem to be ahead of the prediction, with a completely different underlying logic from the past, subverting the consistent anthropocentric and developmentist narrative.
In the past disaster imagination, human beings always showed a certain "big picture view" in the face of existential crisis, and they could do whatever it took to preserve the overall civilization, such as Liu Cixin's "Three-Body Problem", whose famous "Dark Forest Law" is a classic. "Little Mushroom", on the other hand, says that all the "sacrifices" that human beings have put into for the so-called "big picture" are meaningless. It is better to kill the suspected infected people than to let go, and to retreat until all the secondary positions abandoned on the way to the last "Noah's Ark" ... Humanity did not survive these sacrifices, and lost the last of its humanity and dignity. All efforts were in vain, and the story of Madame Lu and the girls in the rose garden gave the crumbling "big picture view" the most violent blow. Women who are protected as breeders have only one purpose left in their survival - to become the "womb" of human beings. Species do continue in reproduction, but if only reproduction were there, could they still be called "people"? So Mrs. Lu took the initiative to push open the window, was infected by bees and became queen bees, led the girls to transform into a swarm of bees, and embraced the free air for the first time. Mankind has lost its "womb" and destruction is a foregone conclusion. However, at the end of the story, the author gives a fairy-tale bright ending through the setting, and the human beings who cannot be saved by the "big picture view" of extermination of human nature are finally saved by the "love" full of human nature. This may be the gentleness unique to women, the inherent warmth of the female frequency network text, but it is also a statement. It shows that girls still believe in the warmth and kindness of the world, believe in the immortality of human nature, believe that freedom will eventually return, believe that love can re-glue the stormy world and heal all the cracks.
The dying human society can only maintain a minimum of "animal nature", but a "non-human" small mushroom acquires "humanity" after watching the "last judgment" of mankind. The setting of the non-human protagonist reinforces the "post-human" nature of "Little Mushroom" and also brings an open mind of "going to the human center". This theme is also the core topic in Zheng Xiaomo's "Investigation Report on the Secrets of the Common Population of the Otherworld" (Jinjiang Literature City, hereinafter referred to as the "Otherworldly Report"), and the protagonist of the novel, Xiang Jingjing, travels to the unknown world at nine o'clock every night, takes a one-hour adventure, and gets to know the "people" or "non-people" who inadvertently summoned her because she "wants to be quiet". With the help of the "fast wear" (that is, fast crossing) structure, the novel presents a feast of world settings, each kind of "otherworld" is not left behind, and the imagination is amazing. The protagonist's attitude towards each "otherworldly" civilization is always to give the greatest respect and consciously alert to the narrowness of anthropocentrism.
In these two works, the author uses the world setting to carry out a lot of "human nature" experiments, the various attributes of human beings are broken apart and crushed a little bit of analysis, man and nature, human nature and animal nature, man and power, man and freedom, how man faces fear and death... Ultimately, it points to an ultimate percussion – what is a human being? This constitutes the unique "post-human" narrative of the female frequency. Women who start from intimate relationships, the first question they raise when facing the world, is still about people's hearts and minds.
2, suspense, horror: the treatment of "functional numbness" of the high stimulation
In recent years, what is more common than science fiction is suspense and horror elements, not only the wave of creation of sub-genres of "criminal investigation text" and "thriller text" - such as "Breaking the Clouds 2 Swallowing the Sea" (Huaishang), "I Seal the God in the Thriller Game" (Kettle Fish Pepper) and other popular works that are high in the Jinjiang VIP gold list during the serial period, which are more widely integrated into other types of narratives, creating the brain-burning brain of suspense and the surge of terrifying adrenaline into the most popular pleasure mode of female frequency.
The suspense and horror of the print media era have tailored a set of fixed writing modes for the best-selling book mechanism, with a relatively exquisite text structure, which is not easy to adapt to the super-long serial form of the network media, so most of them are gathered in a specialized forum space. After the mainstream literary websites developed to the mature stage of commercialization, suspense and horror also formed their own user communities in the vertical market. In recent years, the comprehensive recovery of suspense and horror in female frequency is a general appropriation of genre elements, and the novel may not be developed in accordance with the genre mode of suspense and horror, but it must retain the brain-burning and thrilling reading experience and style. For example, the "Cthulhu" of "Little Mushroom" itself is a horror setting, in recent years, "Ke Wei" has been the most fashionable novel style after the "Two-Dimensional Happy Wind", and men and women frequently eat; the male protagonist of "Alien Report" "Bug Brother" is an interstellar insect family, and the special form of its arthropods - multi-sectional limbs, sharp exoskeletons, slime and compound eyes, oval breeding methods, is also a common horror element in science fiction movies; the breeze of "Mist" (Jinjiang Literature City) has both suspense and horror characteristics. There is a thrilling atmosphere that can die at any time, and the suspense is always around the gameplay of the space-time device, which adds additional excitement to the science fiction core.
Today's female frequency readers are a more "taste-heavy" generation, who not only prefer high fantasy, but also pursue high excitement. These "netizens" have been in the torrent of Internet information, and the global popular literature and art consumer market is carrying out a large-scale industrial production for their visual, auditory, tactile and other senses, continuously shaping and satisfying their desires. This kind of sensory stimulation raises the threshold of the reader, who needs more and more stimuli, more intensely, and more and more rapidly, gradually entering a state of "functional hunger" and "functional numbness", and only more and stronger stimuli can elicit their reactions. In the past, the pleasure mode of female frequency network articles has always been centered on lust and emotion, and when the erotic tension of intimate relationships is blocked, other sensory stimulation is needed as a substitute. Suspense and horror create a new pleasure mechanism in addition to the "sweetness" and "abuse" repeatedly written in intimate relationships, and become the new "fat house happy water" for female frequency readers - Coke has become an emotional promoter that makes "fat house" happy by virtue of the hormones and carbon dioxide released by sugar, and the "brain-burning feeling" brought by suspense and terror and the physiological stimulation caused by adrenaline can also play a similar emotional promotion role. In recent years, the popular offline "script killing", escape room and other live-action adventure games are also committed to stimulating curiosity and fear, but in both offline and online cultural consumption products, only the huge number, low cost and maturity of online novels are enough to match the stimulus demand in this "functional numbness" state.
Moreover, in the face of a "post-pandemic", the world is a disfocused mess for atomized individuals in the postmodern urban life landscape. When the world setting of the novel also tends to be irrational, anti-scientific, and mystical, everything loses certainty, the ground under the feet seems to collapse in the next moment, and the actions of the characters no longer construct meaning. At this time, the stimulation brought by suspense and horror provides an alternative way of confirming the existence of the self, giving the reader a focus of perceiving the world, and making it temporarily out of the state of "self-focus".
Second, return to the worldly care of women themselves
Another side of "Narration" is the "real world". In online novels, high fantasy and reflection of the real world are not contradictory, and even just in the superficial - the "non-everyday" world setting may contain "heterotopia" social observation, and the themes that seem to be close to "reality" are often extremely magical and absurd. What matters is not whether the theme is reality, but whether the work conveys the care of the present world. If the "post-human" imagination of science fiction and the stimulation brought by suspense and horror are macroscopic reflections of society and the healing of the emotions of the times, then some other more realistic and directional female frequency works present a head-on confrontation with the real situation.
1. Workplace: From the "roll" to the "post-jungle" turn of "Gou"
The workplace has always been the most concentrated place for women's gender identity, experience and social situation, and different workplace imaginations are demonstrations of different ways for women to project and relieve these problems and anxieties. In recent works, Qiyingjun's "Into What Body System" (Weibo) and Liu Cuihu's "Apocalypse of the Cavity" (Douban Reading), a fantasy simulation of the workplace through "Palace Fighting", a realistic white-collar life depicting real details, but the same works convey the current female frequency novel's workplace imagination from the "law of the jungle" to the "jungle".
Since 2006's "The Biography of Zhen Huan in the Harem" (Liu Yizi, Jinjiang Original Network/Sina Blog), "Gong Douwen" has been given the meaning of a kind of "workplace survival guide", "harem" is a simulated workplace that amplifies work anxiety into an existential crisis. The premise of this type of narrative is absolute obedience to the "law of the jungle" of the weak preying on the strong and fighting evil with evil. This obedience is deeply rooted, and in the bottom of my heart, I think it is righteous and unshakable, and there is no other way out, so I can only "fight". This has a similar core to the current popular "inner volume", and even can be used to interpret "palace fighting" with "inner volume" - "emperor" is the boss, "concubine" is the opponent of competition in the same runway, everyone "rolls /fights", and the heroine has to "roll/fight". And Qiying's "Cheng He Body" with the help of the "wear book" setting, let a workplace "hit worker" cross into a "Gong Dou Wen", not only said the "Palace Dou", that is, the essence of the workplace, but also completely removed the underlying logic of "Dou" and "Roll": "Gong Dou" is just a routine of the novel, the seemingly unbreakable "law of the jungle" is just a cage of paper paste, since everyone is essentially a squeezed workplace "hit worker", why play the jungle game so seriously, it is better to sit down and eat small hot pot, the world "hit workers" Unite to "go" to the past! "Gou", this attitude of life derived from "Gou and stealing life", has a certain resistance in the social situation of resisting the "inner volume". Another setting worn into the "Palace Bucket Wearing Books" further punctured the falsehood of the "Law of the Jungle". A mainstream routine of "Gongdou wearing books" is that readers "wear" to the original cannon fodder characters, and rob the story line of the victor to achieve the opposite of fate. The protagonist, as a "visitor from the sky", easily sees through this set of paths, and knows that the so-called "counterattack" between "cannon fodder" and "victor" is a meaningless "inner volume" between "hit workers", and the "victor" is still trapped in a cage. Winning the "inner scroll" is no longer the ultimate goal of the protagonist, at least it is not worth falling into the vortex of evil fighting evil for it, only by jumping out of the palace wall and escaping from the jungle to see the outside world, it is worthy of the free soul of modern women. At this time, if the "Gou" goes down and does not collude with the evil law, it will become the greatest resistance to the "scroll" and the "law of the jungle."
In contrast, the real workplace depicted in "The Revelation of the Chamber" at first glance simply implements the logic of "inner volume" to the extreme: the heroine graduated from a famous school, works in the law firm of Beijing International Trade Center, where even the air is filled with the smell of money and power, and she and the seemingly bright elites around her have their own embarrassments behind their backs, so they have to change the law and secretly compete, compared to taste, than the tone, "dressed up" has become their way to flaunt their own difference and superiority, and it is also their last decency and protection. The deeper irony of the "inner volume" in "The Book of Apocalypse" comes from the personal demonstration of the author Liu Cuihu - this novel has a distinct "autobiographical" color, Liu Cuihu once had a resume similar to the protagonist, she finally gave up the life of "inner volume", "abandoning the law from the text" to the creation of online novels. This choice of changing tracks, although it may still be another place to continue to "roll", but at least left the "996" workplace, embarked on a more risky but also more free alternative path, is not a "Gou" performance.
These two works cut into the workplace reality from different aspects, showing the "post-jungle" shift from "roll" to "Gou", which may also be related to the survival situation of "post-epidemic". Women have already glimpsed the cracks beyond the jungle, and the complete destruction of daily life by the global epidemic has made them see the boundaries of the cage more clearly: in the prospect that daily order may collapse at any time, nothing is more important than life itself, and the "inner volume" that desperately strives to grab is like a joke, even if it wins, the reward is nothing more than that. At the same time, the rise of the "experience economy" that treats life as an experience rather than a competition, encouraging people to try more possibilities, has become the opposite of the "inner volume". Women are torn between the two ends, trying to find a balance between survival and spontaneous freedom, which may be the more intelligent gameplay and more advanced "costumes".
2. "No CP": The unlimited potential of women's writing
The "CP-free" genre label, which is the product of a specific historical context, was originally invented to avoid the risks of the pure love genre, but it just happened to make room for other narratives that women do not focus on intimate relationships. This particular genre, because of its non-verbal and non-pure love remnant nature, naturally carries a certain rebelliousness - the choice of "no CP" often means that the author actively avoids the existing intimate relationship narrative and wants to find another way to create a new "core" for the work. The challenge is challenging, but it also forces the female narrative to tap into the potential of a more diverse range. Therefore, the three distinctive "CP-free" works of "Love Ya River Mystery Record" (Weibo), Sanshui Xiaocao's "Sixteen and Forty-One" (Jinjiang Literature City), and "Parasitic Son" (Jinjiang Literature City) observed by the stars are particularly eye-catching. They have set out for realism, feminism, and children's literature, and have aggressively expanded the boundaries of online women's writing.
"The Mystery of Ai Ya River" is a collection of short stories, which transforms the hot events that are happening in the Weibo public opinion field into a bizarre case in the Ai Ya River community. These stories do not follow the writing habits of online genre texts, but in the special field of Weibo, let the text form of short and medium stories and the tradition of essay-style realistic satire re-enter the field of network readers. Every story is incomparably "realistic" because they really exist; but at the same time it is incomparably "magical", because real life cannot contain so many "realities", and it is an excessive amount of reality that forces the protagonists to a dead end. The novel condenses and concentrates on the wounds in the real society that have not yet healed and are still bleeding, and uses vivid tragedies to arouse people's deep thoughts. This has a similar texture to realist literature's attempt to penetrate the pulse of the times for real problems, fully demonstrating the potential of women to face reality and transform it into "network realism". The way to achieve "no CP" in "Sixteen and Forty-One" is to focus on women's internals, telling the story of a mother-daughter exchange of bodies in a single-parent family, and in the gender identity test, trying to relieve women's gender anxiety and maternal anxiety, which can be regarded as the practical exercise of "network feminism" gender consciousness exploration in online texts. The "no CP" of "Parasitic Son" is based on the "interstellar science fiction" genre as the medium, and the protagonist is an alien creature possessed by an earth teenager, which brings a "children's literature" reading experience to the novel because of its child's perspective. This kind of "children's literature", like the "children's literature" magazine "suitable for citizens 9 to 99 years old", is not just "written for children". The "core" that underpins "The Parasitic Son" is the friendship of freedom, equality and innocence, and the heart of a kind and brave child. Therefore, this novel is indeed suitable for all ages, opening up the real all-age possibility of female frequency works - this is perhaps the most desired possibility to see after Jinjiang implemented the "age-specific reading recommendation system", and also added a realistic fairy tale dimension to the layout of "network realism".
Third, the realistic refraction of the romantic model
No matter how much expansion has been made in "narration", to this day, "romance" is still the core narrative of the female frequency network text. The intimate relationship narrative of romance always accurately reflects the subtle changes in women's marital value and gender consciousness, and it is not a kind of reflection of the reality of "narration".
In recent years, "circle layering" has gradually become the norm in the Internet community, and the increasingly mature online literature should also enter the stage of market segmentation, from "mass culture" to "focus culture". After the male frequency experienced the chaos of free reading and paid reading, the boundary between the public and the minority, "little white" and "old white" was drawn with the fee model as the boundary. From the beginning, there were several different forces in the female frequency: the "women's direction" tower represented by Jinjiang, the commercialization matrix composed of other female frequency websites under Reading (such as the starting point girls' network, Yunqi Academy, Red Sleeve Tianxiang, Xiaoxiang Academy, etc.), and the sporadic islands that insisted on "generating electricity for love" for free (such as the author's personal Weibo/WeChat public account, as well as major fandom sites) under the support of fans. Different business models have long been independent in women's frequency, and the greater significance of the free reading wave since 2018 is to expand the breadth of age. For example, previously, the age group of female frequency readers was concentrated in 18-35 years old, but the free reading of "Duobaowen" successfully captured middle-aged women aged 29-50. Female frequency readers choose where to go to read the text, what kind of text to see, most of them are not determined by whether to pay or not, but the different orientations that occur naturally in different circles, so the romance patterns of each circle show different landscapes. However, even when different circles/platforms appear in different types, there are still some similar collective imaginations that lead to the same end. In the past two years, there have been four special sub-types on the major female frequency websites: "buy stock text", "majia text", "multi-treasure text" and "heroine upgrade text". Behind their popularity is a new pleasure mechanism and gender imagination of women, and without exception is the reflection of women's love and power order in the current social reality.
1. "Buy stock text": love and power in the draft era
"Buying shares" is the latest form of the logic of "snorting CP", so it is reflected in the platform where fan culture is rising. "Buying stocks" usually has a female protagonist and multiple male characters who may become male protagonists, and this one-to-many relationship can be seen as a continuation of the "otome" or "reverse harem" model. Rather than saying that a new genre of literature has emerged, it is better to say that the reader's reading style has changed, and the "stock buying text" is actually defined by the reader's "buying stock" behavior - they are like buying stocks, picking male characters, chasing a hot stock or betting on an unpopular potential stock, through comments and voting, swaying the author's writing practice, influencing the frequency of the role and deciding who the male protagonist spends. This is highly similar to the "draft" in fan culture: the author gives the "show man" roles that can be selected, and through different character settings, fully meets the various "male color consumption" needs such as women's aesthetic tastes, emotional structure and erotic imagination; the interaction of readers participating in "buying stocks" is currently mainly in the form of comments, and the "hit the list" behavior of idol fans has similar data logic.
Behind the behavior of "buying stocks", there is a special reading substitution perspective. The female readers who participate in the "buying shares" usually substitute not the heroine but the mother of the heroine, to choose a son-in-law for the heroine, her daughter; or the role of "CP fan", to snort the male role and the CP of the heroine and respond to it. In this kind of power relationship permeated with the logic of the draft economy and traffic, "snort CP" is no longer a self-contained and irrelevant equal rights, but has become a matter of "high and low and noble", and the one who bets on the treasure is the winner. The reading and consumption process of "buying stocks" clearly reflects the specific love desires and power relationship imaginations of women who have become the main body of "male color consumption" in the draft era.
2, the female frequency "Shuangwen": the expansion of the pleasure mechanism and the rise of female consciousness
"Ma Jia Wen", "Duo Bao Wen" and "Female Lead Upgrade Text" are the most popular female frequency "Cool Wen" in recent years, and different "Cool Points" indicate the same trend, indicating that today's Online women have an independent and self-reliant gender consciousness.
"Ma Jia Wen" usually follows such a pattern: the seemingly unremarkable heroine actually has many "vests", that is, unknown prominent identities, such as exotic princesses, consortium presidents, super hackers, famous school bullies, etc., so every cannon fodder supporting role will have a "punching face" reversal at the moment of "dropping the horse"; the male protagonist often has many "vests", and the two "fall off the horse" non-stop, "punching the face" more than once. All the way to the troublesome "Lady Your Vest Has Fallen Off Again" (Xiaoxiang Academy) is one of the representatives, relying on the continuous repetition of the above routines, long at the top of the list of monthly tickets for women who read the text. Popular in the tomato novel and other free reading platforms "Duo Baowen", its routine is that the heroine accidentally had a one-night stand, gave birth to multiple babies alone, and after a few years, the multiple twins grew into a number of gifted children, solving problems for the female protagonist, and promoting the two to fall in love after reuniting with the male protagonist. This time, the heroine's "vest" and "goldfinger" were transferred to her children, and as a mother, she was also able to enjoy the pleasure of "punching her face". It can be seen that the "YY" novel of the female frequency not only has an eternal "president", but also a permanent "Mary Sue", and the pleasure mechanism of simply and rudely opening the "goldfinger" is still effective, but today's women are more willing to point the "goldfinger" on the female protagonist and her children, and no longer only hope for the male protagonist.
The "cool points" provided by "Ma Jia Wen" and "Duo Bao Wen" such as counterattack, face punching, and playing pigs and eating tigers are obviously borrowed from the mature model of male frequency, so it is particularly prosperous in the comprehensive commercial platform that distinguishes between male and female frequencies. This model has been deeply cultivated in the male frequency for a long time, compared with the female frequency is still in the relatively primary "small white" stage. Another type that matures in the male frequency and is popular in the female frequency in recent years is the "female lead upgrade text", and the difference between it and the "female strong" or "big female lead text" is the numerical "upgrade" system with a distinct hierarchy. Influenced by the gender consciousness of "network feminism", Jinjiang's "female protagonist upgrade text" has appeared a different ecology from other platforms. Jinjiang's "female protagonist upgrade text" often attaches great importance to the female protagonist's "upgrade" or "career line", and at the same time suppresses the "emotional line" - the existence of the male protagonist must not interfere with the female protagonist's "career", otherwise it will be criticized by readers for "not doing the right thing". For example, in 2020, the first place of Jinjiang's "fantasy romance" category of works, "Smashing pots and selling iron to go to school" (Red Thorn North), tells how the heroine "upgrades" to the strongest single soldier in the interstellar world, the first half of the novel can almost ignore the gender of the protagonist, although there is an "emotional line" in the later stage, but it is set as the male protagonist of the strongest command, mainly to add bricks and tiles to the heroine's great cause, such an "emotional line" is more like a condition for the heroine's life to be complete. The extreme emphasis on "professionalism" and the excessive suppression of "love brain" are directly related to the value orientation of the reader group. These readers awakened to gender consciousness in the baptism of "online feminism" culture, and some of them entered a relatively radical state. They have very strict requirements for the gender practice of novels, and "strong women" must be "strong" to the end, otherwise they will be labeled as "pseudo-strong women" or even "misogynists", forcing the author to create a thorough "independent woman" and not show any compromise on patriarchy. Such a radical gender consciousness, which seems to be the opposite of cynicism, is actually still a manifestation of cynicism - they resort to literary fantasies, but they are unable to deal with the real dilemma, and they cannot break free of the obsession of "strong women", so they cannot give gender a more free possibility. Therefore, this kind of "heroine upgrade text" is often difficult to escape the fate of "upgrade" will eventually stop at "xiaobai", and most of them can only provide a "cool" pleasure satisfaction to the end.
Overall, the female frequency writing in the past two years has expanded into a rather diverse aspect, whether it is the world setting, or the care of the world, or the realistic projection of love, power, and pleasure mechanisms, all of which have taken on a new look. Although there are still immature points, the "post-90s", "post-95s" and even "post-00s" girls who write these "narrative poems" are still very young. In time, they will surely cast their growth and years into beautiful scenery and present more wonderful performances for the Internet.
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