Very Long End of Volume Summary

Four hundred and seventy-five chapters, nine months of updates—the second volume of this book [The Book of Skycarts] is finally over.

This also marks that the player's book has officially gone through two-thirds.

As Annan breaks his six mirrors one by one and finds the light in the mirror, the real skylight is about to hatch——

To put it simply, it is time for Annan to complete the sublimation ceremony in the next volume.

With a little notice, the length of the third volume should be slightly shorter than the second volume. In other words, if you start writing in mid-March, you should be able to finish the book before the Spring Festival.

The next book has already taken shape, and my friends all say it’s great (thumbs up)

However, after this book is finished, Ahmao will definitely not publish a new book immediately, but will take a short break, adjust his schedule and take out to exercise (probably it is difficult to complete the manuscript). But certainly not later than the end of March next year.

There are still nine months left for this book—maybe less, maybe a little more, mainly depending on whether there is any sudden inspiration, which makes me suddenly feel that a certain nightmare is so awesome that I have to write it even if I add a plug.

If you encounter this situation, it is inevitable to continue with a small section.

After all, you must also like to watch it (sincerely).

The main stage of the next volume is the United Kingdom and the Theocracy, as well as a small amount of foreign plot.

By the way, yesterday I saw someone say that this book is relatively dull...and rightfully so.

Because the initial positioning of this book (or all of Qi Miaomiao’s original world view works) is based on the concept of "travel notes in a magical world". All my books so far have been based on "setting" as the main axis and "little stories" as flesh and blood, rationalizing and logicalizing a novel worldview.

Compared with Mercury's Blood, which was quite blunt back then, I have now quite proficiently mastered the technique of inserting plots into the setting process...

The specific reason for using this writing method is that Amao is very imaginative—when I read the book myself, I felt that the ups and downs of the magnificent orgasm would be stuck for several days if I couldn’t finish it all at once. It's very uncomfortable to be up or down...

But I believe that I should not be able to explode the update (kimbo).

And the themes I write are all types that cannot be changed. If you accidentally explode too much, there may be some strange bugs.

Of course, this can also be regarded as a kind of self-indulgence, which is not so market-oriented.

However, after six or seven years of focusing on writing self-promotional articles, I can write well and earn money, so I think it’s okay to continue this self-promotional road.

When readers are tired of seeing the same big fish and big meat, they will occasionally feel refreshing when they come back and take a bite of the new-flavored cucumber.

In addition, I still remember that some readers often asked why there are so few plots about players.

Part of the reason, I have already said in my speech in the first volume-if the player has too many plots, it is very easy to collapse. Such words are actually funny articles, and Amao's personality is too serious. I really want to write that kind of article but I can't...

About four or five months before the book was opened, when I had dinner with other authors, the definition of the player element in this book was "swap". The Continent of Fog is actually in a desperate style similar to Quicksilver's Farnese World. If the player is removed, the plot can indeed be made smoother—or more exciting, but the readability will undoubtedly be reduced a lot.

The role played by the player in this book,

It is to be able to pull readers out of the world when they are about to sink into the world.

This is a technique I heard from Uncle Tong when I was chatting with him before - how to tell a tragedy calmly without making readers sad?

The answer is to maintain stage distance. Let readers be aware of "that is a story far away from themselves" at all times without being immersed in it.

If it is a tragedy that is too close, such as a tragedy that happened around me, where relatives and friends play the leading role, people will not be able to help but feel sad. Parents' short mother-in-law and daughter-in-law dramas actually use this effect to "catch the heart".

But I don't like the kind of plot that makes people feel sad after watching it.

Telling stories and singing operas to persuade people. This is the philosophy I hold from the moment I type the first word. Even if you can't feel any profound principles when you read the book, but when you think about it, you can "seem to understand something" in a flash.

The heavy and solemn tragedy does have its artistic value, and it is very high, but when the readers opened the book with the attitude of "let me come and relax", they were overwhelmed by the heavy despair—— —I think that's a kind of fraud, too.

Therefore, the reading experience must be taken into consideration.

I was in the Quicksilver period, and I really liked hair knives. But the more you write, the more you will be restrained and afraid to use a knife, which is exactly the reason.

There are some characters that I originally wanted to kill, but considering the reading experience and the feelings the readers have accumulated for the characters, I don't have the heart to do so. In the end, I had to create another plot to make it invisible-somewhat saved a life.

A strange metaphor... It's like beating a pet to death in front of the owner's eyes. I think that when an important character that the reader "loves" from the heart is cut off, the psychological impact felt by the reader is probably similar to this level.

He is heavier than a device, but lighter than a person. But he will be remembered after all.

Probably the remaining tenderness in Maomao's heart...

Finally, a lot of people have asked in recent days. Here I would like to reiterate the fan attitude of this book—attitude is welcome!

After all, I am also a fan. Whether it is a fanart or a fanart, as long as it does not violate relevant laws and regulations, it is very welcome here. As long as there is no commercial profit and the source is indicated, there is no need to specifically ask for my opinion, and it is welcome to ask.

After the player's book is finished, if someone wants to use the player's worldview to directly write a fanfic and put it on the shelf at the starting point, I don't mind as long as the source is indicated. The reason why I want to finish this book is because I don't want to explain the settings that haven't been released yet, but I don't want to see you being slapped in the face by me...

It's time to code. Finally, the closing words of this volume.

The appearance of [Book of Sky Cart] marks the opening of the door to the Light Realm.

The next volume and the last volume is [Seizing the Sky Expedition].

Recommend the new book of urban master Lao Shi: