In Mo Yan's novels, fantasy often goes hand in hand with realistic elements, mixing and mixing, which makes the works have a kind of illusory and real, hazy and vague characteristics.
Mo Yan was never satisfied with just providing readers with a story, a few characters, or conveying some emotions and feelings. He always pursues broader and deeper symbols and moral goals, and gives readers a shrewd novel world that transcends concreteness, is full of hints, and is richer and deeper than real life.
Mo Yan said in "Powerful and unconstrained style" that "creators should be powerful and unconstrained style. No matter in creative thinking or artistic style, it must be a bit evil. "
Imagination is the greatest feature of Mo Yan's art. "Are irrelevant things in contact? Melt them into a furnace, stew them into a pot, and knead them into balls. Cutting constantly, tearing is not bad, pulling the tail. " Mo Yan's novels also boldly tried various structural techniques such as "multi-angle narrative structure", "counterpoint structure", "time sequence inversion" and "time sequence juxtaposition".
Or add a sense of hierarchy and realism to the work, or make the work complicated and fascinating. In order to "make the characters and the environment get the greatest possible three-dimensional sense" and "enliven the story and gain a life force", he showed great randomness in how to come and how to go. This randomness is even reflected in his leisure time that often goes beyond the norm.
Every novel by Mo Yan captures the most important and sensitive thing in China. He is not only imaginative, but also humorous in his writing style.