Every time I finished writing a Mount Shu novel, I made up my mind that I would never write another one...
Because I felt I had already written everything I could, with nothing left to write. In terms of paths, I had covered the Unorthodox Path, the Demonic Path, and the Righteous Path—everything except the Buddhist Sect. In terms of plotting, I had already dug up every treasure there was to dig up and mastered every Daoist scripture there was to master.
Every time, I thought there could not possibly be anything fresh left to do...
Then, after some time had passed, usually two or three years, I would come up with new ideas and find myself itching to write again.
This book is about Demonkind, and there is no question that the Demonkind in Mount Shu have a rough lot. But I am not simply writing about Demonkind. There is a central thread running through the whole book, with three layers of meaning: one, two, and three. Mm, my esteemed readers, savor those for yourselves.
The great Mount Shu novel series carried forward the traditional fiction of the Late Qing and Republican Era and paved the way for the new wuxia novels of Jin, Gu, Huang, Liang, and Wen, among others. Its content was fresh and unusual, its world vast and all-encompassing. It had so many strengths that even tens of thousands of words would not exhaust them, but there were also plenty of blemishes in the jade. For example, its writing techniques were far too dated, closely resembling many old oral storytelling performances. There was no fixed protagonist, only a "Story Anchor" figure. All sorts of characters could cut in from the side, followed by long stretches of flashback, and by the time the original thread resumed, everyone