I'm very sorry, from tomorrow until the 18th, my little brother needs to go to Akita and Aomori on a business trip in Japan, so I can't update it for a while, so I can only present this article that was urgently written today at the request of an editor friend, and I'm very sorry! In addition, by the way, I will also go to Honolulu, Hawaii, USA to attend the 16th International Conference on Computer Communications and Networking (ICCCN2007), and I can't update it at that time, sorry!:(

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When it comes to the topic of Xianxia, it is ashamed to say that because he has always believed in the motto of "it is better to hide than to hide clumsy", when the younger brother wrote nearly two million words of Xianxia novels in his spare time, he still did not write any thinking words related to this literary theme. Yesterday, I had a casual conversation with a respected editor of a literary website, and he said that if I have free time, I might as well write about my thoughts in this area, such as the practical significance and future development of Xianxia literature, and also communicate with those who love Xianxia literature. After saying this, I mustered up the courage and was not afraid to laugh at the Fang family, and talked about the meaning and future of Xianxia literature in my mind.

When it comes to the significance of Xianxia literature - I think it is extremely meaningful, and it can almost be elevated to the level of inheriting the cultural traditions of the Chinese nation!

Xianxia literature, in a broad sense, covers the strange spirits of immortals and martial arts, "Journey to the West" and "Strange Tales of Liaozhai" are Xianxia, "The Legend of Shushan Swordsman" and "Heaven and Dragon Slayer" are also Xianxia, and the inheritance and development of Xianxia literature actually runs through the long history of the entire Chinese culture. The source of Xianxia can be examined, the earliest can be traced back to the Shang and Zhou Dynasty Dingwen, the Spring and Autumn Period and the Warring States Period's poems, there are Qu Zi's "wide open Xitianmen, I ride the Xuanyun", "ride the waterwheel and lotus cover, drive two dragons and horses", and there is also a dream butterfly Zhuangsheng "Peng hit the water and three thousand, and the swaying is 90,000". Since the Qin and Han dynasties, all kinds of mythological literature that is attached to poetry and religion has a vast origin, including the Tang legend of flying swords for thousands of miles, the notes of the Ming and Qing dynasties with gods, ghosts, demons and foxes as the protagonists, and the poetry of the wandering immortals that run through the poetry of the literati of the previous dynasties. Since modern times, there have been countless Xianxia novels in the current sense, among which the best ones are such as Huanzhu Jingu, which everyone is familiar with. The history of these many immortal martial arts sources is just to show that in the long history of the development of Chinese culture, the Xianxia branch of today's online literature is actually an organic component that has always been connected with the mainstream culture of the East, and it has an incomparably glorious past.

However, although Xianxia literature has a glorious past, we, the readers of the new century, may have to say, what era is it now? How much future can there be for the airplanes and rockets in the sky, the trains and automobiles everywhere, and those chanting, singing, fighting, killing and killing in the background of ancient illusions? If this question is answered positively, we may be able to write a large thesis freely; I am not a scholar and an expert, and nature cannot reach it, so I can only answer here with three points from my personal point of view, "What is the practical significance of Xianxia literature?" As a science student who has been deeply affected by the style of the dissertation, please forgive me for being very boring and elaborate:

1. When a nation's material civilization is revived, the world's civilization is often accompanied by the revival of literature and art; for China, whose economic development is changing with each passing day, it is only a matter of time before the revival of traditional culture, including Xianxia culture, is retraced. The current Hanfu movement is a clue based on this reason.

Second, with the growth of national strength, there will inevitably be a sense of anxiety about the self-identification of national identity. In the process of searching for the symbols Chinese of their own national characteristics, the Oriental Xianxia culture, which is one of the most striking features that distinguish it from Western civilization, will inevitably be picked up again.

3. In the modern society with an increasingly fast pace of life, the tense pressure of life can give rise to a fantasy literature market such as Xianxia. Because no matter how society changes, there are always things in human nature that never change. For example, as far as Xianxia literature is concerned, we can give a less appropriate example for male readers: even though the society has entered the 21st century of development and openness, the classical Xianxia literature's "tranquil woman in the lotus blossom" and "Yaochi Heavenly Immortal" still have infinite charm. It can be said that the unbridled imagination and ethereal fairyland in Xianxia fantasy literature have a very outstanding effect on relieving the pressure of reality, and can even become the destination of many modern people's souls.

Therefore, it is precisely because of the needs in the above analysis that, even according to the various economic laws that govern modern society, it can be shown that those Xianxia literature, which has a history of thousands of years, still has an incomparably bright future and strong vitality in the new century.

Of course, although theoretically the prospects are brilliant and the inner talent has a strong vitality, please forgive the author for saying bluntly, this Xianxia literature is really not just anyone who writes casually to get the expected prospects. What kind of Xianxia is a good work, and what kind of Xianxia can have a broad market? This question is actually related to another topic of this article:

The future development trend of Xianxia literature.

After explaining the practical significance of Xianxia, I have the courage to make a very personal prediction about the future direction of Xianxia, and similar to the previous one, this prediction is still a rule, as follows:

1. A good Xianxia must have a truly authentic popular and classical style.

"Words without words, deeds are not far", as one of the most significant characteristics of Xianxia, classical writing must naturally have. This applies to both classical Xianxia and modern Xianxia as a mutant of Xianxia. Specifically, "authentic" means that if the writing is necessary, the author can use the literary language freely, without carving or awkward; "popular" means that the language is half literate and half white, after all, whether the current Xianxia is written for today's readers, whether it is written in the language or vernacular, must follow a premise:

Most readers can see it!

Since it is mentioned that the author's "literary quality", for this point, I personally think that the Xianxia authors I am currently in contact with can be divided into four types:

1. Can't speak Chinese;

2. Able to speak non-authentic Chinese;

3. Able to speak authentic but inflexible;

4. Xiaochang Wenyan, who knows how to integrate into the text to conform to modern reading habits.

Those who have the last ability think that this person has the necessary conditions to write a classic Xianxia.

Second, the concept of a good fairy tale must keep pace with the times.

In fact, I don't need to say much about this, the so-called "flowing water does not rot", "if you don't advance, you will retreat", like other literary genres, if Xianxia does not draw nutrients from external novelties, the result is not only a matter of standing still, but will be completely abandoned by the current mainstream readership.

For this point, we can explain the problem from a narrow style of "martial arts" in Xianxia.

Since Jin Yong Gulong, there have been few widely accepted masterpieces in martial arts, and many martial arts lovers, including readers and authors, are wailing that "martial arts are in decline". For this, I think that if "martial arts" have a spirit in the sky, they must feel that they are more wronged than Dou E!

To quote a saying on the forum, "There are only writers in decline, there is no decline in martial arts"; at the root of all kinds of remarks on the decline of martial arts, it is often found that commentators only define those martial arts works with outdated styles or low-level and low-quality martial arts works as "martial arts" by themselves, so as to generalize them in a partial way, and then tell everyone that "martial arts" are in decline -- there is a very interesting thing here, whether intentionally or not, they say that the decline of martial arts often installs on "tradition" Alas, it turns out that the aggrieved person himself unconsciously has psychological hints, using the word "traditional" to intentionally or unintentionally distinguish the "declining martial arts" from those declining martial arts - alas, unjust, martial arts are really wronged!

Oh, the above sudden mean words, not that I lost my temper, but that I feel that as a real champion of martial arts and immortals, I should complain less about others, find problems more from my own level, and really start from the thick accumulation of literary literacy and reasonable attention training, and do a good job in writing in a down-to-earth manner.

Speaking of which, as the opposite of the decline of martial arts, of course, we can mention some outstanding martial arts works after Jin Gu, such as "Old Things of Martial Arts" and "Heroes", which are popular on the Internet, as well as the works of the new generation of martial arts writers represented by Feng Ge and Cangyue. I think that if you don't demand perfection, these works are not declining, and their authors are very good, and there is no sign of bad luck in declining. In fact, compared with the best-selling works on the Internet, martial arts literature is more mainstream in the mainstream field.

3. A good fairy tale that is suitable for all ages and appreciated by both the elegant and the vulgar must draw nourishment from the traditional Chinese culture of gods, ghosts and fairies. Chinese civilization has a long history, and the literary scriptures accumulated by Xianxia can almost be described as "vast as a sea of smoke"; if we can dig deep into the legendary culture of gods and ghosts from these rich and vivid materials, and make it easy to understand the weight, then such works are at least above the level.

Fourth, a better direction for Xianxia writing is to have both "immortals" and "chivalry".

From the foregoing, you may be able to see that the author has consciously or unconsciously divided the current Xianxia literature into at least two kinds:

1. Narrow sense of immortal literature such as gods, ghosts, swords, and immortals;

2. Martial arts in the narrow sense of the world.

Personally, I think that such a definition has actually involved the development trajectory of modern Xianxia, from the beginning of the Republic of China, which was regarded as the beginning of martial arts, to the development of the popular martial arts represented by Wo Longsheng and Liu Remnantyang, and later became the peak of martial arts literature, the overall trajectory can be summarized as:

From the rise of the narrow sense of Xianxia to the domination of the narrow sense of martial arts.

And now, the development of this Xianxia literature as a whole seems to have reached an important watershed in history. While some talented and beautiful women continue to explore how the narrow sense of martial arts after Jin Gu develops, another part of the online writers, including the author, have begun to explore the new Xianxia. The exploration of Xianxia literature in the Internet age, in my opinion, is by no means a simple return to Huanzhu Xianxia, but on the basis of tracing back to the roots, combined with various cultural phenomena and literary and artistic types at home and abroad in the information age. For example, new types have appeared in Xianxia works, such as urban Xiuzhen, such as modern Xianxia. Of course, while Xianxia seeks innovation and change, it does not prevent some Xianxia authors from still striving for the perfect reproduction of Xianxia works.

Speaking of which, we may have to ask, among the many new types of Xianxia and martial arts, which type of Xianxia form will occupy the mainstream in the future? I don't have many brilliant ideas on this point, and for the purpose of joint discussion, perhaps I can answer another question:

In the future, which kind of Xianxia can achieve long-term development?

My answer to this question is: to absorb the nutrients that modern people are interested in from classical culture, and at the same time organically integrate martial arts and Xianxia's Xianxia works, you can gain a longer vitality.

Xianxia works, "immortal" and "chivalrous" are the answer to this question, as a Xianxia writer, I naturally have to practice, so here to explain my own views, I can take my own works as an example by the way-

For example, I have published the Xianxia work "Fairy Sword Asking for Love", why did the online version I drafted originally called "Smoke and Dust on the Fairy Road"? That is because I want to integrate some things, not only can there be fireworks in the world, small things in the neighborhood, but also can be imagined arbitrarily, depicting those magical illusions of fairy beauty; and the name of "Xianxia" in literature, I personally think that it is just a definition of the internal characteristics of this kind of work, "fairy spirit" and "chivalrous intention", rather than some characters who claim to be "immortals" and call themselves "chivalrous" on the surface.

I think that if we can naturally combine earthly and immortal things, at least we can make our works have more sense of time and space, and have more space for writing. To put it in layman's terms, that is, if the original earthly "martial arts" is one basket, and the narrow sense of "Xianxia" is another basket, then if we are both immortals and chivalry, then at least the capacity of our basket is twice as large.

The above is the prospect of Xianxia literature that I have summarized in combination with my personal writing and reading practice. At this point, this very personal Xianxia experience article will also end. Finally, let's talk about why the main title is "Longevity, No Need for Immortal Township", the reasons are still listed separately:

1. This immortality does not need to be immortal, which means that with the passage of time, only the author leaves his name; if you want to leave a long-term imprint on your life in this world, a more effective way is to write some words that can be circulated, such as the Xianxia text advocated in this article. If you want to live forever, you don't have to be in those illusory fairy lands that are depicted, and after many years, when our children and grandchildren pick up these words, you will know that we have been here in this world. Well, as the saying goes, "Glory is not an elixir, and leisure is not a dead end", let's all write novels!

2. In addition to the above noble and ancient reasons for advocating everyone to devote themselves to writing, the most direct reason for naming the title is that such a title is very cool.

Okay, that's the end of this article. Guan Pingchao wrote on June 12, 2007, and all Xianxia friends encourage and communicate!

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