The main text is finished, and I haven't written my thoughts yet. There's a lot I want to say.

It ended the day before yesterday. I had an impulsive thought, but everything that should be written has been written.

After the Blue Star plot ended and entered the interstellar era, I said that the interstellar plot wouldn't be too long, and I wouldn't change the map again. That would be too much filler, and I would feel disgusted writing it myself.

The full text is 1.3 million words, which meets expectations.

This is also the first time I've written a text of more than a million words. My own evaluation of this book is: a failed author. Don't spray, leave if you don't like it.

Before writing this book, I was really a failure. Old readers know that my previous book had around 30,000 readers.

As a failure, don't expect me to have gorgeous writing, exciting plots, or meticulous pacing.

But even though I'm a failure, I tried my best to write this book well.

Why write this book?

When I was a reader, I also liked the apocalypse genre. I liked the protagonist going to the supermarket to collect supplies, a full sense of accomplishment. Seeing the protagonist get food and drink, I felt satisfied.

My first book was also about the apocalypse, haha, *Clash of Clans: Doomsday Home*. The writing was immature, and I didn't know what a "poison point" was.

When I was a reader, I didn't even know that the biggest poison point in apocalypse stories was actually the Holy Mother.

That book wasn't that much of a Holy Mother story. It was just that when the protagonist went to the supermarket, he didn't take everything, leaving some supplies for later arrivals.

There was also a younger sister, and many readers said they swiped away as soon as they saw the sister.

I gradually explored what a poison point was and what readers didn't like.

Then, in the second, third, and fourth books, each book had poison points, and I was wildly sprayed. The worst was a choice the protagonist had to make in the previous book.

I got sprayed badly, haha.

At that time, I realized that I deserved to be sprayed. Everyone reads books for fun. If you write controversial plots, you deserve it.

Back to why I wrote this book, when the previous book was not yet finished, I also read some books on Tomato, and I happened to see that the apocalypse stockpiling genre seemed to have good potential, with 300,000 readers.

At that time, I was envious, with only 30,000 readers.

Then I had the idea of writing this book.

But it would be different from other books.

In other books, the space is very small, a few cubic meters, and they just stockpile instant noodles, ham sausage, salt, etc. What's the use of stockpiling so little?

I'll give you a big one, stockpile a billion worth of supplies!

The space also has a preservation function, so it will never expire.

Ahem, later, Tomato released some books that crushed me on the beach, with hundreds of billions or trillions, millions of tons of supplies.

But a billion is enough. The protagonist didn't even use up all his supplies after the Blue Star plot ended.

I also like to stockpile supplies, so I wrote this book.

Stockpiling a billion worth of supplies is a satisfying point, but it also restricts the later plot. If the protagonist gets a pack of ham sausage, is there any satisfying point?

Let's talk about the protagonist's style of doing things. I think it can be considered decisive. Anyone who might pose a threat to the protagonist, as long as he has the ability to kill, he kills directly, leaving no future troubles.

I slowly explored what a poison point is, and I would never write anything that I thought was a poison point. Letting the tiger return to the mountain and then come out to disgust people is one of the biggest poison points.

Many readers like this kind of protagonist, but the disadvantage is that enemies are killed directly, which makes it impossible to pad the plot, and the protagonist's strength improves quickly, resulting in a fast pace.

Otherwise, the Blue Star plot could have been written for 1.5 million words.

The interstellar plot is even faster. I directly made the protagonist a god, mastering the laws of void travel, and being in an invincible position.

The original ending I had in mind was that Chen Luo fought with the Origin, causing space-time confusion, and Mi Li, Mi Fan, and Mi Ling fell into different time-spaces. After Chen Luo defeated the Origin in a trinity battle, he searched for them in various time-spaces.

Half a year later, he found them, and then Mi Fan said, "You deadbeat, why are you only here now?" And then it would end.

I changed it temporarily.

Regarding the female lead, readers who started following from the beginning should remember that I said the plan was for two to three female leads.

Later, the River Crab God appeared out of nowhere, and the author was timid and didn't dare to write it.

This is considered one of the criticisms.

In this book, I avoided most of the poison points, but since I'm a failure, I still made a few mistakes.

First, when going to the granary to collect food, I encountered a mutant rat king that Fa Wang couldn't beat.

I made Fa Wang so awesome in the front, but he's not an opponent for a rat.

This is more controversial, but it's my fault that it's controversial.

Second, when Mi Ling came back, Chen Luo deliberately disgusted Mi Ling, saying that if she didn't call him brother, he wouldn't give her anything good to eat.

I didn't consider this carefully at the time. I think it is indeed a poison point, making the protagonist seem childish.

I forgot if there are any poison points later. You can talk about the poison points of this book, and I will definitely pay attention to them in the next book.

Growing up in failure, avoiding all the poison points I know.

When the protagonist went from Blue Star to the interstellar, the map changed. Some readers said to end here and dropped out. In theory, changing the map would cause a significant decline in data.

I was also prepared for this, but it didn't happen. The number of people following actually increased a lot.

I think it's because there was some foreshadowing before, and the transition to the interstellar was natural and logical. The map transition was not abrupt.

I also made a mistake in this book. Readers always asked questions, such as when someone asked when the protagonist would become a god, and I said the day after tomorrow.

But I padded it out a bit, so when the time came, I had to bite the bullet and write about the protagonist becoming a god, which seemed hasty.

Also, regarding the ending, if I hadn't said it would end on the weekend, but said at the end of the month, the ending might have been better.

I will never make promises lightly next time. Regret youthful ignorance.

The writing style in the front was more humorous, but in the later stages, there were very few laughs. Some people said, "Did the author hire a ghostwriter?"

Alas, seeing such comments really made me feel a little broken.

I have to admit that in the later stages, my condition continued to decline, and I also had the feeling of being creatively spent.

I couldn't think of any very funny plots.

Mi Li and Mi Ling rarely spoke later, which was intentional.

The protagonist's strength improved too quickly, and they couldn't keep up. I also can't write romance scenes, so I simply didn't write them.

If I wrote about being lovey-dovey with Mi Li, many people might say I was padding the story.

There is another reason why there were no laughs in the later plot: the subject matter. It's a bit difficult to write the apocalypse in a very funny way.

In fact, there are many laughs in each of my books, and I have gradually found my own style, a comedic route.

This kind of book is still very popular.

Therefore, in the next book, I want to write a subject that is easy to be funny and make use of my strengths.

Eighty percent of the time, it will be a xuanhuan (fantasy) brainhole story. The golden finger is equivalent to cause and effect, so offending the protagonist will be avenged.

It's very similar to *Violet Evergarden*, but it's not inspired by her. I thought of it accidentally, and it won't be as bad as *Violet Evergarden*.

Because it's a system, and systems are all terrible.

I have already thought of many very funny plots. I laugh just thinking about them.

Twenty percent of the time, it might still be the apocalypse, but the hope is very small, because I can't think of any new ideas for the time being. If I write the apocalypse again, the plot will be clichés.

If there is a very nice idea, I will still write the apocalypse.

I want to rest for a while. If it's early, I'll post it at the end of April. If it's later, I'll post it after May Day and reach 100,000 words in May.

Because the author wants to earn full attendance in June, and must have at least 100,000 words before June.

Many people may have already left this book or won't specifically look at the author's new book.

But it doesn't matter. If the next book does well, you can still find my book.

Before the new book, I still have to write more than a dozen extras for this book.

I'll write tomorrow, Chen Luo stealing Mi Ling's vegetables?

Of course, the extra about Chen Luo and Fa Wang's previous life will definitely be written. Was Fa Wang really no match for Chen Lao Liu, and was he eaten only after being successfully ambushed?