He impressed the heroes of the world with his magical swordsmanship and charmed the beauty of the world with his smile, almost a combination of Yan Nantian and Jiang Feng;
Master Xie Jiasan who picked up the sword is like clark kent who took off his suit glasses. He is omnipotent and invincible;
Teenagers are successful, middle-aged people are confused, and old people are enlightened. He was saved by the most powerful opponent and hurt by the woman who loved him the most. Although a son and a daughter are far from smart and filial, they are all amazing.
Ding Peng is a typical Phoenix man.
Being cheated by a woman in the end, and because a woman who loves him really climbed to the peak of her life, Ding Peng is undoubtedly an extremely realistic and utilitarian "young man" compared with Xie Xiaofeng who was born in a famous family. Fortunately, he is not bored, because his utilitarianism is magnanimous enough, and because he was so close to complete failure, he will seize any chance of "success" almost hungrily.
As the protagonists of martial arts novels, they are bright enough and attractive enough; But these two works are not perfect.
For the third young master's sword, the interest of the story itself and faltering are far behind the wonderful characters themselves. Even the story of Xie Xiaofeng's novel named "Aji" is still not fully explored and unfolded.
As for Full Moon Machete, judging from about eleven chapters of Double Knives (suspected), the part written by Sima Yanzi greatly lowers the level of the whole work from all levels, which is regrettable regardless of story, logic and language.
But these two works, named Sword and Knife, are absolutely excellent descriptions of "Sword Technique" and "Knife Technique" even if they are placed in the whole sequence of Gu Long's works. Every time a hero draws his sword, Gu Long takes advantage of his prose-style martial arts and depicts an "imaginary writing style" that is obviously difficult to play.
The fourteenth sword
The fifteenth sword
I thought that "fifteen swords killing", like "Xiao Li flying knife", belongs to the highest martial arts in Gu Long's novels-because they are purely "causal weapons" that ignore the law; Gu Long, on the other hand, succeeded in writing this almost indescribable realm of martial arts on paper, making people "feel it". This is indeed his unique and unrepeatable skill.
The full moon machete, especially the part before chapter 11, also has such advantages. We don't need to go into details. In contrast, it is often more interesting to analyze the style and story changes of a work like Full Moon Machete, which was jointly completed by Gu Long and his friends.
So, where is this change reflected in the full moon machete?
The first is the obvious degradation of language and writing. In the second half of Sima Yanzi, the beautiful and fluent writing in front of him evolved into a strange language style of "telling stories". The dialogue between characters has slipped from the talk of Zen among literary youth to the meticulous coverage of storytellers. I really smell the traditional storytelling tone from the middle, not to mention the later uglification of Liu Ruosong and the adult joke-like bridge between the two maids ... In short, I can't stand it alone:
As the story unfolds, all kinds of involvement begin, and I hate that I can't pull the clues in Gu Long's famous works into the book. Therefore, in the later story, Xie Xiaofeng is a planned guest, but even the descendants, Long Xiaoyun and Guo Songyang, are involved in the story, and there are follow-ups, Long Xiaoyun and even Chu Liuxiang.
Well, this directly leads to a big problem, that is, the relatively large system that Gu Long himself has been cautious has finally crossed-according to the "full moon machete", Ding Peng and Xie Xiaofeng lived in the same era as Xiao Li's flying knife (their great-grandfather was Xiao Li's flying knife era). If Zhang San of Kuaiwang was also a hundred years ago, it means that Chu Liuxiang's active age is the same era as Xiao Li's flying knife (or just a few decades before and after).
So, inevitably, even if Li Xunhuan and Chu Liuxiang are not completely overlapping times, it is impossible for them to completely avoid Shen Lang, Li Xunhuan or one of these famous players because the story axis of the Li Xunhuan world is particularly long and particularly continuous-from Wang Lianhua, Shen Lang, to Fu Hongxue later-when Iron Blood Flag Gate and Chu Liuxiang are active; But judging from the world described by Xiao Li's flying knife series, this intersection does not exist. Such an obvious Bug can only be understood as representing the author's lack of confidence. This symptom can be described as pitching in many "Gu Long Works" with impure origins (even in love).
As a reader, I can only sigh and admire Gu Longlian's excellent talent of "full moon machete", and he is willing to take it out for others to squander. The only thing to be thankful for is that although there is still suspicion of copying mechanically, the ending is still unconventional and a bit bright:
And the ending of the original "The Sword of the Third Young Master" is even more memorable, which makes me have to continue my bad habit of picking the original cologne at the end of the article: