Jianghu - Interdit de se faire couper

Chapitre 29

Of course, this doesn't mean I think the writing is bad. Technically speaking (sweat), it's much smoother, more rigorous, and more meticulous than "The Tale of Wind and Smoke" (Wu Luo is never a modest person, especially since this was said by our bookseller, hehe). However, I still think it's not as good as "The Tale of Wind and Smoke" because the story of "The Tale of Wind and Smoke" revolves around "emotion" and is very emotional, while this story revolves around the case itself—it's rational.

Therefore, those who are more emotional naturally feel that it is not as good as "The Wind and Smoke". I myself am one of them.

However, my friend Zhuyu vehemently disagreed with my opinion. She really liked the tone of the story, which I think is probably because neither of us is very good at writing lighthearted and humorous pieces. Since we finally managed to produce one, she's especially fond of it. ^_^

Finally, I really must explain to my friends that the reason this story is updated so slowly is not because I'm worried that "if you can read it online, you won't buy the book." In fact, many of the friends who followed "The Wind and Smoke" back then did buy the book. There are many reasons why the publisher doesn't allow the ending to be posted, but it certainly doesn't include the fear that you won't buy the physical book.

Okay, enough rambling. Now for the postscript.

postscript

The motivation for creating the novel "Fengyan Yin II" is very coincidentally the same as that for "Fengyan Yin I," which stemmed from a conversation between Qinggeman and Shisique.

The protagonists in stories always receive more preferential treatment than the supporting characters; legends are the glamorous cloaks that later generations drape over their experiences. But what happens after they become legends? What happens when they step down from their protagonist's throne and watch the next generation surpass the previous one? Thus, we have Xiao Zuo's sons and Feng Xiansu's female apprentice.

Another point worth mentioning is the ending of the book, which is usually referred to as the fate of the bad guys.

In its early and middle stages, the book follows the conventional pattern of detective novels: find clues, draw conclusions, catch the murderer, etc. However, when it comes to the final step of "bringing the murderer to justice," it is intentionally or deliberately changed.

Many readers of mystery novels share a common feeling: the good guys never have to worry, no matter how difficult the case-solving process is, because they are good people and will always achieve glorious success in the end. The bad guys, on the other hand, must be eliminated.

As we once replied to a reader, "Novels are not written to promote evil; they must have a very 'positive' theme, which is love and forgiveness, and the bright side of humanity will surely prevail." Simply put, good will never triumph over evil.

But, won't you get tired of facing the same ending every time? Won't you get annoyed?

Of course, Qinggeman and Shisi Que dare not completely overturn the view that good will always triumph over evil. However, could they approach it from a different angle? Or write it in a different way?

For example—good people investigate to the very last step but fail; they know perfectly well that the murderer is him, but they have no evidence and can only watch the other party gloat... How would they feel?

Reality tells us that this is the normal phenomenon. The talk of divine retribution is meaningless; in reality, the moment a person makes a mistake, they have already paved the way to their own destruction. Xiao Mo's deception and manipulation of Hongxiu, followed by his attempt to kill her, was the cause he sowed, and his eventual death at Hongxiu's hands was the consequence. Cause and effect are always interdependent.

The cycle of karma is real; retribution is indeed swift.

This is the second work co-authored by Qinggeman and Shisi Que, and it wouldn't be an exaggeration to describe it as "a thousand hours have passed, ten thousand words have been written." Because it's another collaborative work, but they didn't want to repeat the dual perspective of *Fengyan Yin*, this work uses alternating third-person and first-person narration—Qinggeman's third-person descriptions focus on the overall picture, while Shisi Que's portrayal of Feng Chenxi emphasizes psychological details. I wonder if readers are used to and accept this approach?

Finally, I would like to thank the publisher for this publishing opportunity, which allows more people to see our hard work, and I would also like to thank the readers for their support.

If you can close the book with a smile after reading it, that would be the greatest reward for us.

Let's encourage each other.