Endless Debt.

Chapter 54
Hello everyone, this is Andlao, your loyal friend who will be listing.

I have been thinking before, what should I write in the testimonials, talk about the origin of the work?Or some plot reason?But I think these things can be written in the testimonials at the end of the volume.

So after thinking about it for a long time, I think it's better to talk about my writing ideas.

Readers who are familiar with me should know that the author, I was an art student before coding... I can’t say it’s art. My school teaches everything. They even taught me how to operate a WeChat official account (the operation method is to sneak into various Group chat to post advertisements).

I personally love art. Influenced by these, when I write, I always think about some sense of art... This sounds a bit nonsense, after all, the carrier of my thoughts now is words, not pictures.

But I just want to lean towards this. Before writing this book, I also discussed with others that the stories I write are limited by my own logic. For example, I care more about the unity of art style, which leads to When I'm writing a book, I try to avoid things that don't match the style of the story.

Correspondingly, I also want to write something novel, something that can make everyone feel "novel".

For example, some common weapons in novels, such as swords, guns, swords and halberds, are used by everyone. In order to bring some novelty, a "familiar and strange" feeling, I chose the weapon of the jackknife. In the construction of the whole Opals , I also try to get closer to the sense of design.

Readers who have read my last book should be able to feel that the old Dunling in the last book is like this. The whole city presents a feeling of a big tree, with airships flying in the sky, and the huge Dunling Tower soaring into the sky , the top of the tower is the broken dome of the command center, under the tower is the pillar of the huge steam system furnace, deep in the ground there is a scientific research center, complex pipelines and railways spread all over the surface and underground, at the end of the darkness, there is The land of mourning is the end.

In the last book, because of the focus of the story, I didn’t write too much about architecture. I personally like architectural design, environment, etc., so in this book, I think I will build the city better, and Incorporate it into the plot.

I said in this chapter before that I saw someone mention "The Battle of Two Cities", but in fact the construction of Opus and the Great Rift is not Zaun and Picheng.

Although Zaan is a mess, it is more or less a common sense city. The wandering fork in my imagination is more like an outpost. The front is a huge abyss, and there are countless nightmares hidden in it. A group of desperate The gangsters lived here, sacrificing to the unknown existence in the abyss in exchange for living space.

To a certain extent, I was inspired by "From the Abyss". A city built on ruins has a huge cracked abyss in its center, and there are all kinds of weirdness hidden in it, and no one knows its end. The conspiracies and secrets are waiting for future generations to explore.

This is a very healing work. If you are interested, you can go and have a look. I have to say, I also pre-ordered a toy of Li Mingqing, which was postponed from last year to March. It's numb.

I like Galaxy Castlevania games very much, such as "Hollow Knight" and "ori". Such a place, as the plot progresses, it will be revealed to the readers little by little.

More importantly, the horizontal version allows it to have clear up, down, left, and right. With clear indicators, players will think about what is the end on the left, what is the end on the right, what is the top, and what is the bottom? what.

So I want to integrate this sense of end into the story, so that the city has a sense of "depth".

Of course, I hope that these designs of mine are related to each other, instead of going east and west. For example, the connection between Ashina Castle and surrounding areas in "Sekiro" is very good. They are related to each other and closely connect.

I like the distortion of the normal, the sense of weirdness, so under the common sense, Opals will have all kinds of strange, wonderful urban legends one after another.

In fact, everyone should be able to feel from here that when I wrote this book, I thought more about what I would do if it was a game, so the advancement of the plot, just like the Galaxy Castlevania game, is constantly changing. Get new abilities and new knowledge to explore new areas, and the areas are related to each other, without the abrupt feeling of changing maps.

Then let’s talk about another one that everyone mentioned a lot, the prototype of the Bureau of Order.

It started with one night when I was listening to Maozi’s post-punk. I don’t know if it was due to historical factors or what. I felt that Maozi’s post-punk was very interesting. The cover is great.

At that time, I was struggling with how to add "novelty" to the new book. Although it was text, I also wanted it to have a sense of imagery. I saw that the cover of the album was a Brutalist building, and after looking at a few representative pictures , I was enlightened at that time.

This time it's right.

The main art style of Bureau of Order is Brutalism, which is the style of the game "Control" that everyone is more familiar with. The design of this game has greatly inspired me.

This game is more about its plot than its gameplay. What I like the most is its art design.

Whether it's the grotesque style of the Foundation or superpower shooting, everyone should have played a lot, but this is the first time I experience such an interesting and complete architectural style in the game.

It integrates the designs of many famous artists, such as Tadao Ando's Church of Light and the waffle grid. I will not report the names of the dishes or mention the names of those big names here.

The prototype of the game itself is the reality, the American Long Line Building, which is a concrete building without any windows, a fortress standing in the city.

After reading the relevant art analysis, I rely on my feeling, and in terms that are easy for everyone to understand, it is probably huge, weird, gray cold, powerful, concrete, concrete or fucking concrete.

Just kidding, this thing is quite complicated, and my understanding is relatively superficial. Interested readers can learn more by themselves.

Oh, by the way, I had just finished watching "Dune" at the time, and I felt that brutalism coupled with the fear of giants should not be too good. In the end, the Bureau of Order became a huge obelisk erected in Opals, just like a myth The Tower of Babel, you can see it as soon as you look up, as if it is not a human creation.

Speaking of which, I didn't seem to have taught this stuff when I was in school.

In the end, I decided to describe the Bureau of Order like this, a place that makes you feel like you are in a prison at work. It is obviously the safest base camp, but you always feel that there are monsters hiding in the next office.

Serenity, depression, power, steel bars exposed under the ruins, I think this extremely rational style combined with extraordinary and mysterious colors, this sense of contradiction and separation is very good.

Apart from this part of Brutalism, what makes me very interested in architectural design is Erping Mian's "blame". In his comics, such giants, stern buildings, and taciturn characters often appear , Many times reading his comics is more like reading a collection of future architectural designs.

Secrets, secrets and secrets, the red crosses one after another seal the truth tightly in the dust.

If you are interested, you can learn more about Brutalism, a rare modern architectural style, which has been given a new lease of life in games and other carriers.

Personally, I like new strange stories, strange cores, liminal spaces and other things. In short, the weirder the better, I even say it is a bit "surprising".

This kind of thing that exists in modern times often makes the cities we live in less safe, just like bad urban legends, you casually talk about the authenticity of these things on the forum, and then one day walk in In the corridor, I found that the lights were all off...

Unlucky ghost, you seem to have stepped into it.

Safe cities are no longer safe, or in other words, we live together with weirdness, but we can't see each other normally.

Combining the above elements, I created a reputation system, that is, urban legends, as in the game, to further fill this city.

A weird city full of all kinds of mess, but luckily you can't die, and you have superpowers.

That's right, when I actually wrote this book, I envisioned a variety of weird and rampant urban abilities.

In a way that is easy for everyone to understand, it is the daily work of the members of the Mobile Task Force.

With elements such as ghost stories, there should also be designs such as san values, but I don't want to directly create some san value slots to represent the mental state of the character.

When I decided to describe the city of Opals, I think it is better to start with the surrounding environment.

Absolutely rational geometry exists everywhere in the Bureau of Order, with sharp edges and corners and a full sense of order. However, with the increase of authority, the "reclamation room" in people's eyes has also changed. The absolutely rational geometry begins to become soft, and the straight lines are not smooth. Furthermore, it was replaced by a bunch of weird curves, like the twisted and hideous appearance of a monster.

This is a new idea that I germinated when I was writing a book. I use rational geometry to represent stable order, but when the geometry starts to collapse and become soft and twisted, it is the beginning of madness, showing the fluctuation of san value from the side.

Therefore, under normal circumstances, the Bureau of Order is an absolute rational geometry, while the Wandering Fork Road is a complex of twisted and winding buildings.

However, Opals is a city of mortals after all, and the battles between superpowers cannot turn into urban demolition, so there are designs such as "virtual domains", which are like dungeons, waiting for the big guys to download.

It looks like a small house on the outside, but it’s actually a huge maze inside. I like the sense of spatial dislocation, such as the Oldest House in "Control", a project of the foundation "Damn IKEA Furniture City", this furniture city It’s so big that it traps many people in it, fighting wits and courage with IKEA employees. There is another project that I can’t remember clearly. It should be "Kowloon Walled City". The description is similar to "IKEA Home City", and it is also an interior Space distortion, ridiculously large.

Readers who are familiar with Galaxy Castlevania games should know that when you explore an area almost, you will often open a "shortcut" to connect the maps, such as in the "ruin area" of "reclamation room", Could there be a door leading to some strange place.

I like to describe a city in detail, just like the old Dunling in the last book. When I read many works, they seldom describe them. I remember when I was a child, I was very curious when I watched "Naruto" What is the structure of Naruto's house? These ninjas are like monkeys on trees, and the buildings have become messy. They can hang people everywhere. I think this feeling is very novel.

Of course, some people also asked, "This city is like Gotham, why are all the demons and ghosts here?"

Don't ask, asking is just a foreshadowing. I always dig holes and fill them in, and I will give you a satisfactory answer when the time comes.

Then everyone can feel that I am intentionally designing some symbols, the Bureau of Order itself, and various departments, I am imagining some perfect icons, including mammon coins that are wandering off the road and so on.

In this part, I was greatly influenced by Robert Langdon. He is a fictional character written by Dan Brown. He is a professor of semiotics. Every time I see him talking about a symbol and talking about the meaning and history behind it, I was like "grass is so cool", after that, I started to design these consciously or unconsciously.

Chains and swords, fruits entwined with poisonous snakes, staffs and swords, etc.

In terms of movies, "The Raid" has had a greater impact on me recently. I feel that this movie has really refreshed the action movies, with blood, punches and punches, from beginning to end.

plot?What is a plot, the plot is the time, place, and how many people are to be beaten, whether to maim or kill.

It's really amazing, everyone who is interested must watch it. Influenced by this film, I became a fan of "God of War in the Corridor".

Based on all of the above, plus the fact that I was an artist before, which may be due to occupational diseases, I always want to present that sense of picture as much as possible, and try to stylize my stories.

It's like the theme song of a game. Although it is changed, the melody of the theme song will not change, at most it is just a variation.

Cheap blood plasma and harsh music, and two irascible old brothers, talking and laughing to pry open the door...

I like this kind of black humor very much, and there are also some strange and indescribable grotesques. The deepest impression I have is probably the "Holy Mountain" in the profane trilogy. At the end, the picture is elongated and the camera Appearing on the screen, my brain felt like it was going to explode for a moment.

The above are probably some of the questions that readers are currently curious about. Just like what I wrote in "Work After 117 Days", writing a book is a very metaphysical thing. Thinking is related, and one idea after another collides with each other. , maybe it was inspired somewhere.

Speaking of which, to tell a cold joke, when I first had the idea for this book, the story was completely different.

The background of this book is about the twentieth century, and the original original appearance is a post-apocalypse. The protagonist is also an undead, but in essence it is a mechanical doll that has been running for many years. The work that inspired my original idea is " Interracial xx store".

As for how it was inspired, I won't talk about it.

I didn’t expect it, everyone, I didn’t expect it either, ah ha ha ha, I laughed so hard, when I was talking with my friend about my initial thoughts, he asked me what I thought of, I was really embarrassed to say it, but fortunately I changed it in the end Unrecognizable.

Another example is the many gates in the dark in the "Transfer Station". In fact, an old man in this chapter guessed it right. When I wrote this thing, I was thinking of "Monster Electric Company".

I have imagined such a situation. In "Monsters, Inc.", every door leads to the human world, and monsters want to invade it, but what if their roles are reversed?

Human beings are faced with countless doors, and there are unknown things hidden behind the doors. These doors may lead to bars, staff dormitories, or lead to some kind of crazy death, or sleeping monsters .

To make matters worse, there are many forgotten doors, hidden in the dark, which may one day be opened from the other side.

Like the House of the Rising Sun.

"Keys" and "doors", like specific portals, complicate the urban space.

There is also "the dynamics of the scene", just like the design of urban buildings I mentioned before, I am very concerned about this sense of atmosphere and the change of this environment.

When I was talking about writing ideas with people before, I said that the boss battles in some novels are like ring battles. It seems that it doesn’t matter where the fight is, it’s just that the two fight each other and then end.

I just thought why not let the scene join the battle?For example, the battlefield is set in a dynamic environment, such as speeding trains, chaotic battlefields, carnival crowds, out-of-control airships... These are the boss battle scenes I used in the last book. At the same time, the scene is changing rapidly.

What's more important is to interact with the environment, such as Jackie Chan entering the furniture city, using the environment to perform various executions, or picking up props, and then hacking and chopping.

Then talk about how I got on the road of codewords. I have mentioned this matter several times before. For example, I actually started to write some messy things since I was in junior high school.

I feel that what drives me to write is more my own desire to share. I am a person who is very keen on sharing. In the words that everyone is familiar with, I am an Amway madman. I often like to give others what I like. .

When I was in junior high school, I fantasized about whether I would become a codewriter someday in the future, but for me at that time, it was indeed a bit unrealistic, and this unrealistic feeling extended to college.

It wasn't until I finished writing "The Ember Gun" that I felt a sense of trance.

Damn, I seem to have really become a codewriter.

how to say?It is strange to have a feeling of not forgetting the original intention, but also very fortunate, after all, it is quite difficult to not forget the original intention.

Then there are some settings. I like the recycling of waste. Some settings that have not been developed, I want to expand them in detail in subsequent works.

If any readers have read all my works, they should be familiar with some setting vocabulary in this book. For example, the secret sword of the king is the organization in my first book "Wings of Ashes". I'm immature, and I can't see what I wrote, but it's my debut work anyway, and I don't feel much except for a little shame.

The Bureau of Order is in "The Distorter", and the Purification Agency is also in the "Distorter", but after using it in "The Ember Gun", it is no longer used.

The secret energy system is the power system of "The Distorter", and there are some character templates, which are dragged out from the previous stories and modified. The characters described make them change from supporting roles to leading roles.

Like the lucky kestrel.

a ha ha ha.

This is what happened when I was writing "The Ember Gun". At that time, I was researching how to make a depressing story more interesting. My friend said, why not add a comic character?
This not only prevents the protagonist from being frequently funny and makes people play, but also increases the interest of the story. In the end, I chose the role of Kestrel.

Many books include the author's "private work". For me, my private work is probably some comedy. I like black humor very much. I saw the devil with a chainsaw while telling cold jokes, researching what to eat at night, and then the other party Looking at the plasma on the ground, he said, the color is good, if you eat stew at night.

In this regard, I put a lot of my ideas into the characters, and because comic characters are invincible, Kestrel survived to the end in the story of the last book.

Speaking of which, I often prefer some supporting roles to the protagonist, probably because these characters do not need to bear the pressure of the protagonist's "main camera" and allow me to play at will.

You ask me what to do if I play badly?
Have you ever heard of box lunch?

a ha ha ha.

The protagonist group has become like this at present. Thinking about it carefully, they are just mindless and unhappy.

Although I have talked about so many setting issues above, you don’t have to worry about the reading threshold. The stories in my books are not related, they are all independent.

At least for now it's still independent.

At present, I have imagined five plots of different sizes, some are one paragraph, some are a whole volume, so I won’t say much here, just keep writing, and everyone will see it.

After it is put on the shelves, I should maintain two updates a day, at least one update, because I want to take this book more seriously, and I need some good manuscripts to ensure that I have time to think and revise.

So I always ensure that I have some 6 manuscripts saved as a buffer.

For example, when you see this part of the plot that is on the shelves now, I wrote several versions at the beginning, and I had to change it about seven times. After the final version was shown to the operation officer, the operation officer gave me comments, and I made choices and revisions, and then I'll watch it again myself and make a correction before posting it.

Speaking of it, it can be regarded as intensive training several times, why can't I find the typo?
Well, that's about it. The rest will be written in the testimonial at the end of the paper.

You may also have noticed that I have a strong desire to share, so my chapter testimonials are surprisingly long. If you are interested in some of the above-mentioned things, you can go and learn about them. They are all pretty good.

(These were not written in one breath, and I wrote them intermittently for a month. As a person who writes testimonials, I actually write whatever comes to mind, and when I need to post it, I find that I have accumulated a bunch of thoughts. Then send it out in one go.)
Today is really a good day, the old head ring is also on sale, I will go to play the game first.

No brothers, lawless circle, I have saved 15 manuscripts, which can consume 6 manuscripts, which should last until I finish playing the game.

What's new on the shelves today has been released regularly, and it will be released.

Today at 12 o'clock, just one hour later, it was put on the shelves, thank you for your subscription.

(End of this chapter)