Warring States controversy, Li Liang martial arts new heights

Pregnant in October, the melon ripens.

It has been almost ten months since Li Liang brother published the first part of "Warring States Controversy", but the form of using "wu" to express the "Tao" implemented by the hundred sons of the Warring States and the bold idea at the end that caused the protagonist Jiang Ming ghost to fail in his mission all show Li Liang's innovation and change in the creation of martial arts novels over the years. As he said in the preface to the song "The Ballad of the White Clouds of the Warring States", the authors of martial arts novels now do not blindly seek happiness, but more want to express their thinking about the world and the self-nature of creation. I did see from "Warring States Controversy" that Li Liang stepped out of the glory he left in the "Ancient Legendary Martial Arts Edition" step by step, and entered another different martial arts space.

The second part of "Warring States Controversy" undoubtedly went further on the road of Li Liang's breakthrough of himself, which made his martial arts creation have a new evolution. This evolution is combined with the structure and plot of the entire work.

In the first part, the protagonist of the whole story is undoubtedly Jiang Minggegge, a disciple of the Mo family, and the whole story is about how he did his best to protect the Korean water fengcheng, and all the storylines revolve around this line. And the character arc light really hit his face, from thinking that the Mo family's "simultaneous love" is the same amount of love for everyone, to the end of the first part, he realized his narrowness, thus making a breakthrough in thinking.

At the beginning of the second part, a chapter is devoted to the progress of Jiang Minggui's spiritual and martial arts after five years of failure to protect Shuifeng City. His understanding of "simultaneous love" changed to the need to love everyone with all his strength, and his martial arts changed from using external forces to using only his own "ancient wood power". The praise of Li Mu of the Zhao Kingdom made him willing to return to the mountain, and he undertook the task of saving Li Mu to complete the six kingdoms. The plot of the second part is also all based on Jiang Mingge's completion of this task as a priority, and almost all of the space is written about Jiang Mingge's actions, including some thrilling battle scenes and psychological offensives.

In this way, Jiang Ming ghost still seems to have become the absolute protagonist of the second part. But I think when Li Liang created the second part, the male protagonist in his heart had changed from Jiang Ming ghost to Yingzheng. Why I say this, I have the following judgments.

First, when Li Liang wrote the second part, the ending for Jiang Ming ghost was the same as the first part, still nothing could be saved, Li Mu could not be saved, Zhao Guo could not be saved, the combination could not be completed, and even the Mo family disciples who went down the mountain together all failed, and under the premise of the failure of the first Jiang Ming ghost mission, it gave him a more serious blow. And the experience of the heroine's death in front of Jiang Ming ghost appears again, just like the first part. This almost complete copy of the plot conception of the first part made me think why the author did this, and the similarity was absolutely deliberate, and what else could it do but give the reader a story where another protagonist ultimately failed? But if the protagonist of the second part is not Jiang Minggei, then this failure has become a big contrast to the protagonist's victory. Then, the opposite of Jiang Minggui's defeat is the victory of Yingzheng, if according to the perspective of Yingzheng as the protagonist, the ending of the second and first parts just forms an intertextual confrontation, and the similarity of the mission failure is to show that the protagonist has changed.

Second, a large part of the content in the middle of the second part of the hard line insertion sense is particularly strong, which is very deliberate. This part of the content is that Jiang Ming ghost desperately does not use the power of ancient wood, with the flesh to resist the rogue family snake prince six heavy hammers, but also to explore the experience of Yin Zheng in the Zhao Kingdom. This part of the content is ostensibly because Jiang Minggui needs these insiders to find clues to the murder of Guo Kai, the minister of Zhao Guo, but if we analyze it carefully, we can see that the connection between the two is only that Guo Kai sent Yingzheng to the Mo family to study, and this relationship must have arisen during the Zhao guo period. However, the questions in the article all focused on the events of the day that Yingzheng fled the Zhao Kingdom, even including the encounter of the Shi Lancao family who saved Yingzheng. Is this really useful for investigating cases? These contents are more to pave the way for the reversal of the ending, and at the same time, through this story, the story of Yingzheng is directly put on the table. At this time, it was already a bit vague to elevate the status of the government.

Third, as a result, part of Yingzheng officially appeared, and in the confrontation between him and Jiang Minggui, every step of Jiang Minggui's plan was lightly dissolved by Yingzheng, and even reacted to Jiang Minggui. Jiang Minggui's six-kingdom conspiracy was impossible to realize from the beginning in the eyes of Yin Zheng, and Shi Qingbao, who asked Jiang Minggui to save Li Mu, had always been Yingzheng's plan, and even the Mo family juzi passed on the small city to Jiang Minggui because Yingzheng was disdainful. As for the judgment of the general trend of the world and the mind of swallowing mountains and rivers, Yingzheng completely crushed Jiang Mingge, and even in the understanding of the spirit of the Mo family, because Yingzheng absorbed the strengths of the hundred sons and hundreds of families, he also had a deeper understanding than Jiang Minggui. It is also the portrayal of this part that completely reverses the identity of the main supporting role of Jiang Mingge and Yingzheng.

Such a treatment may be the result of Li Liang's painstaking efforts, or it may be an accident of inadvertently inserting willows, but in any case, the transformation of the protagonist of the work is completed without noticing through the change of the plot, which is a major progress in creation. Whether intentionally or unintentionally, this is also the result of Li Liang's insistence on creation.

The next part should be the end of this series, see the preview will have Jing Ke debut, we will see how Li Liang interpreted the classic of Jing Ke's Assassination of the King of Qin. But more importantly, I want to see Li Liang's further improvement in creation and bring a very wonderful ending to this work.

Take it a step further.