The Charm of an Ensemble Drama

This battle reflects a part of the charm of an ensemble drama.

That is—every faction participating in the battle, every important character, is meticulously designed and has long-term foreshadowing.

Instead of suddenly creating or pulling a character out just to meet their end to showcase the protagonist's awesomeness.

By doing this, the appearance of every character is not only natural, but it also possesses a logical, self-consistent, and flawless literary aesthetic.

Whether it is the Snowbird Port City Lord and Tan Mo's bitter, tearful performance between the shoals, Hun Tong's mindset, or the appearance of the Vegetable Basket Pirate Crew, all of it has foreshadowing and is a natural evolution.

And in this battle, the methods displayed by the Dragonman Youth are also clear proof of his inner change.

From the Beast Knight onward, he has walked all the way, gradually changing himself—from simple and upright to now being able to use underhanded methods and an oppressive posture to control Hun Tong. All of this is a natural change. Regarding this point, it is a breakthrough. Characterization in contemporary web novels tends to be quite rigid. In the book Infinite Bloodcore, what I want to give my reader friends is a somewhat different reading experience.

In fact, this kind of attempt at ensemble writing had already happened once before.

That was the Double Eye Island naval battle. In order to lay the groundwork for the characters, the auction plot was dragged out. This time, the attempt used a different method and is somewhat more mature.

My understanding of an ensemble drama is: through the natural evolution of every character and every plot subplot, they intertwine and collide to create structural, brilliant fireworks.

Therefore, novels with well-crafted ensembles are not the ensemble dramas I understand or want to write. (Gu Zhen